printmaking sample

8/16/2019 Printmaking Sample

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1. Transfer design onto the plate

Plan out your design and get it onto the linoleum block in preparation for carving. Keep inmind that your image will print in reverse, so if you use any type in your design you’ll need toreverse it on the plate.

You can draw directly onto the linoleum or you can use a transfer method. f you decide todraw right onto the linoleum, start by sketching with pencil and then use a permanent marker togo over your lines and fill in the areas that will print.

!arbon "ethod# To transfer a design, sketch it onto a piece of drawing paper, cut it down tothe final si$e and tape it, hinge style, to one side of the linoleum. %lide a sheet of carbon paperunderneath your drawing, face down, and then use a ballpoint pen or hard pencil to trace overyour drawing. &e careful not to press too hard' if you’re using very soft linoleum you couldinadvertently leave indents where you don’t want them. (nce you have the outlines transferred,remove the carbon paper and the drawing and use a permanent marker to fill in the areas that will

print.

). !arve the design.

*s you’re carving, be mindful of the direction of your strokes. %ome edges will inevitably besticking up, which will create interesting line effects in the white areas. These carving lines are part of your design, so you’ll get a better look by working them in coherent directions.

You can also make interesting marks and patterns on the linoleum by sanding the surface ormarring it with various tools. *fter you’ve finished carving the plate, be sure to thoroughly cleanoff any stray pieces of linoleum. These little bits and pieces can stick to your brayer or your

printable areas and leave unwanted white spots when you print.

+. Prepare the paper.


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• e-t you’ll want to prepare your paper before getting the ink ready. You can print on anytype of paper, but for this e-ample we’re going to use & K /ives archival printmaking

paper because it has a smooth absorbent surface that holds the ink well. t’s also heavyenough to hold up to any additional work you want to do on the print afterwards, such asadding color with pencils or watercolors.

• "easure the si$e of your design and add at least 0 to the height and width to giveyourself a ) border on all sides. You can cut the edges with an 23*cto knife and a metalstraightedge, or hand3deckle the edges by tearing the paper to the correct si$e.

0. /oll out the ink.

• You can print multicolor linocuts by using separate plates for each color, or by using agradated ink roll. or this pro4ect, however, we’ll print with one color. You’ll need a pieceof glass or acrylic on which to roll out your ink.

• You can use either water3based or oil3based inks. The advantage to water3based inks isthat they clean up easily without the use of solvents, but they do tend to dry faster, whichcan be bad if you’re doing a longer print run. prefer 5aniel %mith oil3based relief ink

because it provides better coverage and won’t dissolve if decide to use watercolors onthe print afterwards. &aby oil is a safe, nonto-ic way to clean up oil3based inks.

• 6se a putty knife to spread ) or + lines of ink onto the palette at a width slightly widerthan your brayer. This is what you’ll use to charge or ink your brayer. 6se your brayer toroll out the ink into an evenly coated rectangle. You don’t need to apply pressure whendoing this. 7ust let the weight of the brayer do the work.

• Keep rolling it out until you get an orange3peel effect in the surface of the ink. f youhave too much ink on your palette, you’ll get smears when you’re rolling and you’ll seeglobs of ink on the brayer instead of a nice even coating.

8. nk the plate.

Pull a print. (nce the brayer is fully charged with ink you can roll it onto the linoleum. twill take several passes to get the linoleum plate fully covered. You’ll need to charge the brayer


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several times during this initial inking. You want to find that happy medium of good coverage, but not too much ink.

You can try a test print on newsprint or another ine-pensive paper if you’d like to test yourink coverage.

* really hard brayer will roll the ink right on top of the surface of the plate. * softer brayerwill s9uish down slightly into some of the carved out areas and will deposit ink on more than onelevel.

Pull * print

• :opefully your hands are still ink3free at this point, but if not, be sure to wipe them off before grabbing a sheet of paper. 6se an ;3shaped piece of mat board to align your papercorrectly.

• (nce the paper is in place on top of the linoleum, carefully burnish it up to all the edgesof the plate. The paper will be lightly held in place by the ink. You can use a printmaker’s

baren, a spoon, or even 4ust your hand for burnishing. You 4ust need something that willslide smoothly and evenly across the surface of the paper without catching, tearing, ordenting your paper. f you’re having problems getting the spoon or baren to slide

properly, use a thin sheet of "ylar or acetate on top of the paper.


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WOOD BLOCK

• %heet of drawing paper.

• ;ead pencil.

• &lock of wood.

• !urved burnisher or bone fold.

• %et of wood carving gouges.

• /ubber or non3slip mat >optional?. cut mine from an old place mat.

• @lass surface >like the glass from a frame?.

• Aater3based block printing ink.

• Putty knife.

• /ubber brayer.

• &lock printing paper like Ko$o or mulberry.

• /ice spoon.

Step 1

%ketch your design on a piece of plain white paper using lead pencil.

Step 2

f youBre not into drawing an original design, you could print an image from the computer andcover the areas you want to print in lead pencil. f youBre using an image that is not your own,make sure you have the rights to use it.

Try out some images from photodune or graphicriver . bought this image from photodune andused it as a reference while free3handed it in pencil. *gain, even if you are purchasing animage, you need to read the fine print and make sure you are using it legally.

2. Transfer Your Drawing

Step 1

Turn your drawing face down onto the wood you want to carve. Take your burnisher or bone foldand firmly rub the back of the drawing. The pencil will transfer to the wood.

http://photodune.net/http://graphicriver.net/http://graphicriver.net/http://photodune.net/item/bird-on-a-wire/1924708http://photodune.net/item/bird-on-a-wire/1924708http://graphicriver.net/http://photodune.net/item/bird-on-a-wire/1924708http://photodune.net/


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Step 2

!arefully lift up a corner of your paper to check that your image is completely transferred.

Step 3

@o over the illustration with a pen so itBs easier to see.

3. Start Carving

Step 1


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Place your wood on top of the rubber mat so that it doesnBt slip.

&egin to carve out your design.

:ere are some pointers to follow#

• The wood can be bigger than the carving. have e-tra wood surface at the bottom of myimage which gives my wrist somewhere to sit and a dry surface to hold when printing.

• !ut away from your body.

• Keep all body parts away from the direction your knives are cutting. &e aware of whereyour free hand is at all times. You might think itBs easier to carve with one hand out frontto hold your wood, but itBs not worth it=

• You donBt need to carve too deeply. * simple scratch on the surface of the wood can showup in your print. tend to carve deeply, but thatBs a personal preference.

• 6se the C3shaped gouge to carve against the grain of the wood and to draw out detail.

Step 2

6se the 63shaped gouges to carve with the grain of the wood.

Step 3

6se the small 63shaped gouge to carve detail.


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Step 4

5o not cut straight down into the wood. f you do, your carving will be weak and break apart.!ut at a shallow angle.

f you are having trouble getting a clean cut, you may need to sharpen your knives.

4. Proof Your Block

Step 1

(nce you have your image carved out, itBs a good idea to proof your block. t is not easy to tellwhat your print will look like 4ust from looking at the carving.

*pply a line of ink to your sheet of glass.


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Step 5

*t this point, you might see some areas that are picking up ink that you donBt like. This is thetime to fi- it with additional carving. f you do this, wash your brayer and glass with water

before the ink dries.

5. Print Your Block

Step 1

(nce you think youBve got the image carved the way you like, itBs time to print.

!ut your paper to the preferred si$e. f youBre planning on framing the piece, keep standard framesi$es in mind. (ther than that, you can make the paper si$e whatever you want.

f you are 4ust starting out, it might be wise to cut out some practice paper if you donBt want towaste the good stuff. ewsprint or printer paper can be good for this. 7ust remember that the

print may look different depending on the paper you use.

Step 2

*pply a line of ink, roll it out with the brayer, and ink your block as demonstrated in %tep 0

>proofing your block?.


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Step 3

(nce your carving is coated with ink, carefully place your paper face down onto the block. fyou are using Ko$o paper, the face side is bumpy and the back side is smooth.

Step 4

%tarting from the centre, lightly press down on the back of the paper with the bottom of your ricespoon. &e very careful to keep your paper from sliding around. Professional printers wouldnormally use a baren for this and it is great to get even pressure over the whole block, but a ricespoon or some other flat, smooth surface works 4ust fine.

Step 5

5o another pass with the rice spoon, starting from the centre again, but press a little harder. Keeprubbing the entire image. You will start to see the ink show through the paper. 5onBt try to makethe process faster by rubbing hard. You might make your print blurry or even rip the paper.

http://en.wikipedia.org/wiki/Barenhttp://en.wikipedia.org/wiki/Barenhttp://en.wikipedia.org/wiki/Baren


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Step

%lowly lift the paper from the block. "ake sure your hands are clean= *fter all that work, Bmsure you donBt want to see any fingerprints.

. !llow to Dr"

Step 1

Your print is complete. ;ay it out or hang it to dry.


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You may want to make changes to the block again and thatBs totally okay= 7ust make sure your block is dry so your knife does not slip while carving.

s your print too blotchyE Print again with less ink on the block. s your print too lightE /oll onmore ink. f you are going to print multiples, you should keep count of how many times yourolled ink onto your block. You could even write that number on the back of the block toremember for future printing.

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Step 2

!lean up with water. %ince you used water3based ink, you donBt need to use any cleaning products. 7ust try to use as little water as possible to not be wasteful. You donBt have to clean thewoodblock, but if you want to, you can use a little water and lightly scrub with a soft brush orcloth. &e careful, though, not to scrape or scratch the surface.

#ra$e Your Print

ice work= ow that youBve got it down, keep going. The more you carve, the better you willget. You can even get e-perimental and use other tools like screwdrivers or dremel tips to workthe surface of the wood. Try printing on fabric or other types of paper. &oth the block and the

prints can be given as gifts, or you can even construct a library of stamps for your own printinglab.


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/6&&D/ P/ T"*K @

-lisa rios

what to get:

F !arving rubber > used speedball’s speedy carve?

F !arving tool , with G1 and G8 blades >also speedball?3Pencil3Draser 3Plain white paper 3%tamp pad3!raft knife3/uler 3Aooden disc or block >optional?3%trong adhesive >optional?3"uslin bag >optional?

what to do:

1. 5raw your simple design on a piece of paper, and cut out. 6se your ruler for appro-imatedesign dimension and use your craft knife to cut a piece of carving rubber. or e-ample, mydesign was 1.


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+. (nce you’re happy with your transfer, put the G1 blade on to your cutting tool and slowly cutalong the outside of the transferred design. Keep in mind that we are cutting away the negativespace >the part of your design that you do not want stamped on a surface?.

0. *fter you’ve cut along the outside of the design, place your G8 >larger? blade on to yourcutting tool and finish carving away all of the negative space around the outside of your design.

8. Please note that this ne-t step is totally optional, but believe that it leads to a cleaner, more

professional finish to your stamp. 6sing a craft knife, gently even out your negative space with ashallow cut parallel to the surface of your carving rubber.


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I. e-t, place your G1 blade on to your cutting tool and carve out the letters. The lettering incorporated in this design only re9uired a single, shallow pass of the cutting tool. %uper easy=

had to make my s9uareinto a circle?, and use a strong adhesive, like super glue, epo-y or DI . 5on’t forget to stampthe top of your wooden surface before you glue down your rubber=


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Aouldn’t this make the cutest giftE=

:elpful :ints#3"aking shallow cuts allows for more control over the cutting tool, especially for beginners."ake sure that you are cutting at less than a 08 degree angle.3*lways cut away from yourself. %eems obvious, but, you know=3 avigate curves easily by rotating your rubber and not your cutting tool while carving. tsometimes helps to place a piece of paper underneath your carving rubber to make turning supereasy.3 or a beginner, recommend sticking with a simple word or short phrase inside of a basicgeometric shape, like the design above.

f you’d like to try your hand at a more challenging design, would like in3person assistance, oryou are a fan of cookies, The "akery will be hosting a stamp making workshop on %aturday,*ugust )nd. ot only will you leave with )3+ stamps that you designed, but you’ll also get totake your carving tools home with you= "ore info can be found here#http#JJthemakeryblog.comJworkshopsJstamp3carving3workshop
http://themakeryblog.com/workshops/stamp-carving-workshophttp://themakeryblog.com/workshops/stamp-carving-workshop

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