https://www.oca-student.com/resource-type/video/printmaking-pt1-introduction-uca-video
Part 1:
- Use barrier cream or gloves and apron with oil based ink
- Use ink thinly
- Copperplate oil can be used to modify ink (thin it)
- Avoid any dry crusty bits of ink and work ink in figure of eight to loosen it before rolling
- Listen as well as look at the ink to assess whether it is rolled thin enough
- Roll slowly to add ink
- Roll quickly to lift off surface ink
- 700microns acetate can be used as a plate
- consider: colour, mark, line, tone, shape, texture, composition, pattern, scale and layer
- Play about with constancy and thickness of the ink - thicker ink= less control. Thinner ink = more control but less vivid - it is a tradeoff
- Monoprint = true one-off. Monotype = series of similar prints from she plate or transfer between sheets of paper.
Part 2:
- Subtractive monoprinting requires more ink on the acetate
- Remove ink by: wiping, sgrafitto, white spirit (blot after a show time with newsprint), brushes
- Use masks or stencils to prevent ink transfer to certain areas of the paper
- To pull print apply pressure all over the back of the paper: pad of cloth, hand, roller, baren
- Can use combination of additive and subtractive marks in layers on top of each other in different colours
- The thickness and softness of the paper makes a lot of difference to the resulting print
Part 3:
- Introduction to papers
- Newsprint is cheap and thin and very absorbent
- Cartridge is stiff and has more size which makes it less absorbent- more hydrophobic.
- Printmaking papers tend to have less size making them softer
- Examples: Somerset paper, Moulin du Gue, Zerkall and many different Japanese papers in varying colours
- Thicker paper produces coarser softer marks
- Thinner paper stronger marks
- Consider: texture, pattern, sizing(surface), hardness, softness, thickness and edges
- Deckled edges on handmade papers are prized because they show it is an individual handmade sheet.
Part 4:
- Damping the paper
- If deckled edge - tear to size rather than cut (use a tearing edge)
- Soak in bath on both sides
- Thin cartridge paper just use a sponge to dampen both sides
- Soaking time depends on the paper type e.g. Moulin du Gue 2-3 minutes others may be up to an hour
- Hold up to drain then take excess water off both sides with a natural sponge BEFORE blotting so as not to ruin the blotting paper so can be re-used
- Roll between two sheets of blotting paper with a large roller
- Paper should feel soft and workable
- Important that paper and inked matrix are ready at the same time
Part 5:
- Direct printing (hand pulling) more responsive to paper type
- Indirect (with a press) gives a more saturated image and less affected by the teture of the paper
- Translucent base - add colour to this to make the colour more translucent to allow other colours to show through and mix
- Adding opaque white blocks out other colours underneath.
- Sequence of printing colours affects the end result
- Playing with pictorial space - the colour you put on last will appear first on the paper
- Overprinting can result in darkening and greying as colour mixing occurs. Opaque white mixed with colour will come forwards
- Registration: Just plonk on and hope for the best, cut acetate to same size as the paper and remember which way up, make a registration sheet
- Can try out colours over each other directly on the paper if experimenting
- with experience can learn to use the colour to imply pictorial space.
- If part doesn't work tear up and ut the bits that do in your sketchbook for future reference/development.
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