Thus, the artist draws on the surface with a greasy or waxy substance. It works under the principle that oil and water repel each other. The artist will roughen or smooth the surface as needed. The surface used must be completely flat in order for the technique to work. Lithography: In lithography an image is printed from a flat surface like stone or metal. The resulting image appears on the surface that was placed beneath the screen. Using a squeegee, ink is applied to the material. The artist stretches the fabric tightly on a screen frame and blocks out the areas that he/she doesn’t want covered in ink. A stencil and fabric are used to create the image. Serigraphy: This is a method that is also known as silkscreening and screen-printing. This results in the ink, once dried, standing out slightly from the paper. This requires a greater pressure to be used than with the relief print process. Ink is applied to the recessed areas and not to the raised surface. With intaglio, the artist etches the desired image onto a metal plate or other surface. Intaglio: This is a printmaking procedure that works in the opposite manner of relief prints. The woodcuts of Albrecht Durer (1471-1528) are an example of this process. There are a variety of ways that relief printing can be expressed, including woodcuts, linocut, and metalcut. It can then be applied to paper to create an image. Ink is then applied to the raised surface of the matrix. Having put button polish on my card design I was able to remove old ink and change the colour I was using, which made it possible to come up with lots of different variations of design and colour using the same template.Relief Prints: This is a printmaking procedure in which the artist carves or etches a printing plate or block (also known as the matrix). I found this interesting and was able to experiment with this is many different colours and in many different ways. Through experimentation I then discovered that if you re-coloured a certain aspect of your design after doing a print but not the others you got a faded affect on the none re-coloured aspects, making the re-coloured part stand out more. The end product was my design printed onto paper. Making sure not to get anything trapped in the turning wheel I turned the wheel causing my print to be pressed in between the two rolls, and out the other side. I then placed another bit of tissue paper over the top and put the blankets over the top of it all. The reason I used a damp piece of paper was so that the paper was more bendy and so would mold itself around my templates. I then arranged and placed my work on a piece of tissue paper on the etching press and placed a damp piece of paper over the top. Using a roller and Ink I added colour to the individual parts of my card. I used blue, red and yellow ink. I but button polish on to my card template and waited for it to dry. This is the shape that I have made and it represents the letter W in flag Typography. I also made a ordinary card template that I used to do some relief printing. It created and effect of dark background with red patterns as red was the colour of ink I chose to use.Īfter this I cut up the plates in the same design as the relief plates from last week and using both the relief and collagraph plate I mixed up pieces of the two plates and inked them up in different colours sometimes using intaglio ink and relief ink on the same piece to create lots of different textures and designs. I then printed using the etching press the same way I did last week.Īfter I made one intaglio print I decided to go over the surface of collagraph plate with a roller and add ink to surface to create a print of both intaglio and relief. This also revealed more of the glue, however because I wanted some of the texture of the glue to still appear in my print I didn’t completely clean up to glue areas. The artist then applies the raised areas with ink, to be pressed on to a surface. Doing this started to reveal the raised areas where the glue was.Ĥ) With yellow pages I then skimmed and polished the top of plate to leave only ink that is beneath the surface. Relief printing is done by outlining an image on a surface, and then carving along the outline. Pushing the ink beneath the surface changed the look of the ink, where before it was wet and glossy it was now matte.ģ) Using the scrim again I gently wiped the surface of plate to take any excess ink off. Also if the scrim gets too much ink on it it makes it less effective. This prevented the ink from going under the plate and making it messy.
I didn’t take the ink all the way to the edges so there was less ink to get rid of.Ģ) Using a scrim I then pushed the ink further below the surface of plate and pushed the ink to the edges. If I failed to get the ink below surface there would have been no print. Using mount-card like a squeegee I used it to force black intaglio ink into the texture of the plate. I had to ink up my collagraph plate first, which involves 4 steps.ġ) First step was to get ink bellow the surface of plate.
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