Monday, January 26, 2009
Thursday, January 22, 2009
Basics before starting
1. be careful not to touch the front of the paper a lot. the oils in your fingers will stick to the paper, and will catch ink and print.
2. the paper has a front and a back side. The front is the rough side and the back is the glossy smooth side.
3. I am not aware of any way to make corrections for these plates, so what you draw there is permanent. (I'm not vouching for this, but you could maybe try scraping it off with a razor, but that would only work for very small areas.)
To start with my image, I already had a small leftover piece of a larger sheet. I wanted to just draw a small image that was fast and easy to print for the demo purpose. After I figure out my paper size, I place the litho paper face down on my CLEAN drawing surface and draw the outline of my paper on it with sharpie. (This will give you a pretty good registration, but I would not use it for multiple plate registration.) I also drew fainter lines in the middle to show where my image area is going to be. The paper is fairly translucent so the lines will show to the front.
I figured out what I wanted to draw, and sketched it out on a separate piece of paper. After I flip the litho plate face up, and use the sketch underneath as a guide for my drawing (remember no corrections, so plan well). I use a piece of paper to keep my hand directly from touching the plate. Drawing materials can be virtually anything oil base and waterproof. Easy media to start off with are sharpie markers and ballpoint pens. I also had a student who drew his image on the back glossy side of the plate, and we was able to print if off from there as well. Some of his penmarks did come off in the process though.
Below you see the finished drawing executed with ballpoint pen. It has very fine lines which all printed beatifully. You can also see the registration marks showing from the backside of the paper. The drawing is now ready to be printed. Important: when you get ready to print, make sure you have time to print the whole edition all in one day. So far we have not had much luck reprinting the same plate the next day after it has dried in between. If anyone has a good solution to this I would love to hear it.
I took a video of me printing this drawing on the etching press at AASU. This is my first demo video that I ever made so bare with me... If you have anything to add, or questions please comment or leave me an email, and I will try to include all good advice.
Sunday, January 18, 2009
The second one is a demo video for those who want to build their own screenprinting studio at home. The first half shows how to coat a screen with emulsion, and how to expose and wash it. The second half gets a little more quirky with adding led-lights and sound to the freshly printed shirt.
More helpful links and videos to come in the future!
Friday, January 16, 2009
These two are pieces by Sandy Brunvand. Sandy's statement: These pieces come from a new body of mixed media works on paper based on drawings, etchings, wood engravings, woodcuts and relief prints made from solar plates. The images of the dried plant forms and landscape are found along the trail. These are assembled, along with drawings, sketches, and lines and forms constructed from other elements, into a finished whole. I am very interested in the texture and translucency of paper, especially thin handmade paper from Japan, Bhutan and India. When coated with beeswax they take on additional qualities of texture, heft, color, and light. I am especially drawn to how these papers combine with each other when layered, and how stapling adds a dimension of texture and line (reminiscent of the process marks in the woodcuts). The delicate lines created by traditional printmaking techniques and by drawing juxtaposed with the harsh, yet beautiful, line created by a stapler, make an unusual field of textures. The mark of the staple adds a functional element as well as a formal one in these pieces. The new addition of my dog’s black hair as line and value add yet another personal element to the work. He’s at my side on the trail everyday as well as in my studio. I have struggled to keep his hair off my artwork for years and most recently out of the sticky wax. It slowly dawned on me that perhaps it was supposed to be a line on the paper. Not something to be brushed away in frustration, but something to be appreciated for its own beauty and purpose. I find that I have become more and more obsessed with lines and marks. I continually experiment to find new types of line with interesting qualities.
The pieces on the right are by Kristen Bartel (right) and Brian Gonzales (left). Their statements:
Kristen Bartel- Monotype, digital, drawing My work includes both digital and tradition printmaking technique paired with a variety of drawing materials which create abstract and absurdly systematic prints. These materials include both the conventional and alternative. Original monotypes are first digitally scanned to create a workable matrix that is then realized through a digital print on drawing paper. This print acts as a structure on which to build upon with lithographs, intaglios and drawing. The digital file can then be altered without the loss of information from the original to create a second, third or fourth print. The act and making become tangential and relieves the matrix of the burdensome fate of degradation.
Satan's Camaro is a collaboration between Lenore Thomas and Justin Strom:
The goal of our collaboration is to approach and create artwork in a way that is outside of our individual work. Collaboration requires all parties involved to see things in new ways, to both compromise and push the bounds of the creators and the artwork. The piece we created here combines our individual ideas and aesthetics to make a piece that involves opposites: organic verses mechanical, black and white verses color, hard and soft. Despite their seeming opposition these elements form a cohesive whole, functioning together in one space. Process: We currently mix water-based screen printing with applied surfaces of smoke, stenciling and branding.
I started with copper, but have switched to aluminum and zinc with the rising cost of copper. The plates are not etched in any way; I smooth out the edges with sandpaper and needle files but the surface only has to carry the ink, not the art. The rich black and the subtle relief of the embossing add an aesthetic quality to the print so they have a tactile quality, as well as a design quality.
With most of these shaped plate prints I am interested in highlighting shapes and images that are rendered invisible through familiarity or context. Thus, the geographic series highlights the complexities of features we might never see otherwise; the infrastructure series demonstrates the poetry available in the commercial urban landscape; and the geometry series attempts to bring humor and playfulness to dry academic subjects.
Soft Sculptures: Before constructing the three-dimensional form, the surface markings are created through screen-printing and machine embroidery. The majority of my printed forms originate from graphite and India ink drawings in addition to mono-prints. These textures, shapes and diagrams are further developed digitally before being transferred to the screens. The printed silk is then backed with cotton/polyester quilt batting. These two layers are then bound together by a random network of machine embroidery. Sections of this fabric are used to construct the outer shell of the sculptural forms, which are then stuffed with scrap quilt batting.
Mariana Depetris had three beautiful pieces in the show.
Technically, I find the possibilities of printmaking endless and I am never satisfied with only one process for the whole piece. These three pieces have layers of three harmonic colors in relief, followed by screen printing -four colors-, letterpress and inkjet. Then I dip the pieces in encaustic medium, which is Dammar resin and purified white beeswax. This makes the piece translucent and also seals the piece. Finally, with a sgrafitto technique and stippling, bright oil stick colors are inlayed so that the piece is completed.
Addition Jan 22, I found the article in the school news paper online, you can read it here.