The photographic film sheets have a design in black. These were a prototype for the etchings-see Baro catalogue no.91 & 93, ready to be transferred onto a metal plate for printing. UNSIGNED. 1973.
Sheet sizes 260 x 90mm
Reference: Baro 91 and 93
‘Photographic film stencils allow the reproduction of an image by mechanical means and again the stencils are prepared away from the screen and adhered to it when completed. Stencil preparation is perhaps one of the more important and vital stages in the whole process at kelpra Studio. The majority of stencil preparation is photographic, allowing manipulation by the artist and the master printer alike. Sometimes the artist becomes directly involved with the preparation-a print may even result from this very involvement-or not. The final positives which are used to make the photographic stencils are made by the several methods; direct drawing onto a translucent material called ‘Kodatrace’, cut film or by actual photography. All of these methods, giving different characteristics to the finished image, enable a positive film to be developed which is then transferred onto stencil material, developed and adhered to the screen ready for printing.’
Quote from: Kelpra Studio. The Rose and Chris Prater Gift. Artists’ prints 1961-1980. (Pages 63/64)