In February 1986, David Hockney discovered a new creative process while experimenting with a photocopier, which profoundly shaped his artistic output. Seeing the photocopier as both a camera and a printing press, Hockney embraced this new technology for its ability to allow spontaneous and independent printmaking. He acquired three machines, effectively running his own print shop. Hockney's homemade prints used separate sheets of paper for each color, copied onto successive sheets, similar to traditional lithography but with the immediacy of paper-to-paper printing.
This process allowed Hockney to experiment with color and texture in real-time. In works like Bowl of Fruit, April 1986, vibrant reds, blues, and greens stand out alongside blacks and greys, reflecting both his aesthetic choices and the availability of CMYK cartridges. Without the need for drying time, Hockney often overprinted sections to create depth and color density. His fascination with printing in black is evident in Grey Blooms, May 1986, where the rich black ink, devoid of reflective oil, appears as "like a void."
Though limited by the photocopier's paper size, Hockney created composite images, such as Office Chair and Self Portrait, July 1986, printing across multiple sheets to produce larger works. The complexity of his prints is shown in the edition sizes; while some, like Self Portrait, July 1986, had full runs of 60 prints, others like Two Red Chairs and Table, March 1986, had only 31, indicating his ongoing refinement of the process.
Hockney's homemade prints aimed to humanize printing techniques and encourage viewers to consider the construction of images. These works, following his photographic collages and preceding his use of the iPad, highlight his embrace of new technologies as creative tools. By democratizing printmaking, Hockney made his art more accessible and relevant.