Name: Screen Printing and Tile Making with Faile
Uploaded: 2014-10-10T11:59:28.000Z
Duration: 9 min 45 s
Description: Thousands of YouTube videos with English-Chinese subtitles! Now you can learn to understand native speakers, expand your vocabulary, and improve your pronunciation...

PATRICK MCNEIL: That door is like the jam, dude.

Adverbs of degree

PATRICK MILLER: When the pink goes in, it's going to be

PATRICK MCNEIL: We should have almost brought those black

The idea was to tile the facade of a building.

This one just seemed to suit the project the best because

PATRICK MILLER: The influence for the wall and other

influences we're seeing almost the way graffiti builds up and

the way it gets buffed in these sort of geometric color

And we're sort of bringing together all those elements

from within our practice to things that we see and are

PATRICK MILLER: We started FAILE in 1999.

And it really started as a collaboration of printmaking

and soaked large format monoprint silkscreens.

It's something we had talked about for a long time.

I think even in high school and before, we'd always talked

about this idea of collaboration and working like

PATRICK MCNEIL: When I first moved to New York, it was like

It was just like saturated with graffiti and street art

And I just started documenting it in the beginning, and

taking photos of it, and talking to Pat about it, and

I was like, you've got to come down here and check out what's

PATRICK MILLER: I think we've always been attracted to sort

of one collaging appropriation, found work, and

Seeing those things that are lost in some random advert

page from a magazine 50 years ago and sort of tying a little

PATRICK MCNEIL: A lot of our prints we'll print, and then

And there's a lot of multiple printing that

And then from there, it's like you get your final print.

Once you do on top and just kind of finding things that

you can't get from a silkscreen, like the brush

stroke, getting those gestures happening in it.

So there's a lot of hand crafting over printing and

things that happens in our printing process.

The more layering and the more beat up it gets, it seems the

You can get prints to a certain place where it's just

like, you work it and you fight it and it

And you do that one more layer and it changes everything.

And you're like, wow, this one's my favorite one.

PATRICK MILLER: Over the years, it's evolved not only

the processes, but also the materials that we're using.

Working on the street, you come across a lot of wood and

And it just sort of naturally incorporates

The abstraction that's played out in sort of starting with

doing some of the rips and abstracting in that way and

layering up, really started to lend itself to the blocks and

the wood, and sort of this idea of building up these

And you had this one little block in there that you can

And it's got its own little meaning to it, but then you

PATRICK MCNEIL: With a canvas, when you paint a canvas,

you're kind of stuck with where you're at on the piece.

With the blocks, there's that flexibility to put it

together, deconstruct it, put it back together with LEGO.

PATRICK MILLER: In the ferry wheel, this is really the

Native Americans came back and retook the city

From there, it just really made us look at things like,

Kind of creating a tactile experience from the work and

PATRICK MCNEIL: This is one of the machines that was left

PATRICK MILLER: We had a show coming up and we had asked our

And we all sat down in his studio and just sort of