Article
One |
An overview
of experimental printmaking techniques - by Liz Cave |
Liz Cave's guide to Collagraph, Drypoint,
Relief Printing,.Etching and Monoprinting |
Here you
will see various examples of my experimental PRINT MAKING
techniques. I became interested in this form of picture
making whilst teaching at St Bartholomews School Newbury.
After attending a course at Marlborough Summer School
and retiring from full- time teaching I decided to set
up my own studio here at my home in Inkpen.
You may be wondering what is
meant by PRINT MAKING. Most people
tend to understand the term to mean a copy of a work
of art that has been executed in another medium eg .water-
colour or oil paint. A photo/electrical press is used
for the process and the artist is not directly involved.
The number of prints made can be as many as hundreds.
The term ORIGINAL PRINT
may seem a contradiction in itself. In fact it is an
image created by the artist cutting or drawing into
a, block of wood, lino, cardboard , glass etc. The number
of prints that can be achieved is limited by the artist
or the materials or by the processes used and will usually
not be more than six or seven. A hand operated press
will be used.
The techniques I am at present using
are: Collagraph, Drypoint, Relief Printing
(using lino ), Etching and Monoprinting.
Much of the work I am exhibit is Collagraph based, this
is because I find it such an exciting and creative process. |
Collagraph Printing Colla meaning 'to stick'
and Graphas meaning 'to inscribe or write'.
A plate or block is made using cardboard as a base.
A variety of materials is applied to the surface, using
PVA glue. These may be fabrics, string, tissue paper,
natural objects, such as pressed leaves.
Another method of making a plate is called "intaglio".
This is a more complex way of working but after a little
practice I found it very effective and satisfying to
use. Lines are scored into the surface and layers of
the card are cut away with a scalpel, thus creating
recesses that will hold the ink. The plate is then covered
with a layer of glue and later a layer of varnish to
harden the block before the ink is applied and the image
printed on the hand press.
I used this method for "Seed Heads in the Vegetable
Patch".
While making the block of "The Cockerel" I
used both methods.
|
Collagraph: "TheCockerel" |
Drypoint - Etching.
A sharp pointed steel tool is used to inscribe directly
on to the surface of the plate, which in my case is usually
made from perspex, a clear acrylic resin. This line eats
into the surface so that after the ink has been applied
and wiped a thick line is produced when the plate is printed.
I used this method for the print entitled "Bird in
a Bubble". |
|
Relief Printing (lino cut)
The term relief refers to any process in print making
where an image is taken from the top surface of a block
or plate and the non print areas are at a lower level.
The most common form of relief printing is the lino cut.
The block is cut away to leave the top surface to be covered
with ink , the print is then taken by rubbing the back
of the paper onto the block or by using a press.
I used this method for "Dolphin". |
Lino Cut: "Dolphin"
|
Etching.
A metal plate is first covered with an acid resistant
ground that consists of beeswax, bitumen and resin. In
order that the wax spreads evenly the plate is warmed.
When the plate cools the wax hardens and is ready for
the design to be inscribed through the hardened coating
exposing the metal beneath. The plate is then immersed
in acid. This burns or etches only the exposed areas of
the plate where the design has been drawn. Ink is then
applied to the plate and the print is taken.
I used this method for "On Returning Home".
|
|
Monoprinting.
This is an excellent introduction
for new students to printmaking. A monoprint is a painting
or drawing in oils or inks, on a smooth surface such as
perspex or a metal plate. The image is transferred to
another surface, usually paper,and either with a printing
press or the pressure of a hand tool.
I used this method, for the print "Rough
Sea for Sailing". |
|
I hope these notes will help you to understand a little
more clearly how I achieve my finished pieces of work.
I find Print Making a fascinating and creative art and
for those who would like to try it for themselves I
will be running a week's course at Marlborough College
Summer School and workshops in the autumn at my studio.
|
Visit
Liz's Gallery>>>
|
|
|