Monday, January 14, 2013

Water based ink VS Oil based ink.



As a person who has worked with both I have to say that overall I prefer oil... duh.  Oil based inks are bad for the environment and even worse for your lungs!  But the reality is that they are just easier to work with and provide for a far superior final product.  The water based inks tend to gum up quickly and dry way too fast for monoprinting.  I have been fairly impressed with some of the water based ink colors, though not enough to use over their oil counterparts.  Health concerns are legitimate, however, for oil based inks.  You must always use in a well ventilated area, and don't be above wearing a mask and gloves.  For some printing methods water based inks are suitable, though others require ink based inks.  Many forms of intaglio printing as well as monoprints benefit greatly from a slow drying oil based ink. 
  
Lithography.


Lithography is a very complex print style.  It is basically a form of intaglio in which a smoothed limestone block is "masked" with a wax agent which repels ink onto the paper.  This is a very lengthy process that is rarely done any longer.  However, the more modern way of doing this is done on aluminum sheets coated in a plastic which basically works in the same way.

I personally have never done this method.  I have heard through old professors that the method for smoothing the limestone by itself takes tens of hours to complete.  

It is, however one of the most durable print methods. 
Collagraphy.



Collagraphy is a really fun media.  In this printing method you can use virtually anything to create a print.  The whole concept to create a collagraph is to use a rigid support such as cardboard or wood and applying materials- anything from twigs and leaves to bottle caps and lighters to create a printable image.  In this process the key is finding similar depth items to create an even print surface, though a little character can go a long way.  

This is a fun print process, and i've done some things similar to this.  When I was younger I'd print t-shirts with dead fish or frogs and cool shit like that. 





Dry Point. 

"SELF PORTRAIT", PIOTR SZUREK

Dry point is a form of intaglio printing in which scrapes are made into a metal surface which causes ridges to be made on the surface.  These "ridges" then retain ink so when the plate is printed very fine lines are made on the paper. This process is a hard one to master.  One can use different tools to make different markings.  As seen in the print above, there are multiple techniques that may be used to create depth within a print.  The slightly grey areas were more than likely created using a metal roller, where as the darker, bolder lines were created using deep gouges.  

I have done intaglio prints and they are very easy to over work. A good tip is to always run test prints to see how the work is progressing, you can always take off from a block, but you can never add on.



Intaglio. 

"Stone Rabbits", by Ralph Slatton

Intaglio printing is based on slightly different principles than most other printing methods.  The basic concept is to etch a metal plate, then the ink is pushed into the etched areas and then excess ink is wiped away leaving ink only in the recesses.  The block is then printed under extreme pressure forcing the ink from the plate on to the paper, this also will leave permanent marks on the paper, proving it is an original print verses a computer print. 

Intaglio printing is an incredibly long process, it is also an expensive process.  However it is a very long lasting and durable form of printing. 

I have done hand etched Intaglio prints.  Using a metal scribe I scratched the surface of a piece of copper.  Using a very thick black ink, I used newspaper to rub the ink deep within the recesses.  When printing you must soak the paper before hand.  This will help to suck the ink from the thin ridges of the plate. 



Monoprints.
(Monotype)



Monoprinting is my favorite printing style.  As the name suggests, it is a style of printing which only allows for one off prints.  Though the same plate may be used to create "ghost" images or fainter (less inked) prints. 

The basic idea is to create an image on a glass or plastic plate using ink and water, one color or multiple colors. Then placing paper or cloth over the plate and using a burnisher to make the transfer permanent. You can also use a myriad of other hand tools to transfer different amounts of ink to the paper.  Using the back side of a spoon or back end of a paintbrush lines can be created in the ink. 

With all the different methods of applying ink to the plate, coupled with the different methods of transferring the ink to the paper makes monoprinting an extremely dynamic printing method.

The only downside to this style of printing would be the inability to make multiple, and consistent prints.  Though, for me, it is never about creating multiple prints, it is all about the process.  I feel that the actual creative process is what it is all about, so doing many different prints all on the fly without much preparation is a lot of fun. 




Linoleum Cuts.
(lino-cuts)

"Crystal Skull"by Ryan Jacob Smith

Linoleum cuts are an excellent medium to create incredibly crisp and dynamic prints.  Linoleum is a soft rubber-like substance which has the durability to create detail rich blocks that will withstand continual printing.  

The tools needed are simple, a roll of linoleum, and a good supply of gouges.  If you are cheap, or just poor like me, it is good to invest in a sharpening stone to extend the life of your gouges.

The great thing about lino cuts, as countless other printing methods, is the endless number of surfaces that one can print on.  Printing on cloth, paper, etc, also printing on paper and wheat pasting that shit on your local neighborhood police station. 


Thursday, January 10, 2013

Stencils.

When people hear the words "street art" the first artist that more than likely comes to mind is the UK based street vandal "Banksy".  I long ago fell in love with his work, however over the years I find his wall pieces have plateaued.


Banksy

To create a stencil all you need is a sturdy piece of cardboard, an exacto knife, and a good beer.  The beer is essential to the creative process.  

Once again, like other print methods, layering is key.  Making different color/hue layers adds so much to an image,  giving the final product depth. 

Stenciling is a great way to spread a message across an entire town in a very short amount of time.  Constructing a durable stencil is key to making a stencil that will last.  

Here are a few other stenciled pieces:





  


    

Wednesday, January 9, 2013

Etching.

Self-portrait frowning 1630, Rembrandt

Etched prints are generally done on metal.  The basic concept is to create the negative of an image is applied to the surface either manually with a gouge, or chemically with a masking agent and corrosive agent. 

Etching is a good way to create a print that will last a long time.  Most commonly softer metals such as copper or nickle silver is used.  

With chemical etching the artist can apply a resist in several different ways.  From photographic etching to traditional masking techniques, there are multiple avenues to take.  

Photographic etching is probably the easiest way to transfer your  desired image to the plate.  The most common way of doing a photographic etch is to develop an image and transfer it to a computer file.  The image is then printed on to a transfer paper called "P&P Blue" (press and peel blue), you must use a laser jet printer, because ink jets will not transfer properly.  Side note:  make sure you print on the NON Glossy side of the P&P Blue.  When the image is printed make sure the sheet is clean and there is no dust or hairs on the printed area,  this will hinder the resist from transferring to the plate cleanly.   To transfer the image to the plate the metal needs to be heated to between 200-225 degrees F, I use an electric griddle, I've also used a clothes iron. Clean the plate vigorously!  Over a griddle heat the metal to about 200+ degrees F, place P&P Blue printed side down over the griddle, using a wooden awl or paper towel to apply pressure to the film evenly and until the image starts to fade from the film.  

Once the image is fully transferred, you can touch up any spots that didn't transfer with a masking agent or even a sharpie.  next using packing tape cover the back of the plate and any border around the front you with not to be etched. 

Place the taped plate in the etching bath.  I have found the best method is to use a shallow dish filled with the etching solution then using packaging tape suspend the plate image side down in the bath, as though floating on the solution.  This allows the metal particle so fall to the bottom of the solution without staying on the plate (ruining the print).


Depending on the strength of the solution, the age of the solution, and even the kind of metal used all are factors in how long the plate will take to etch.  Checking every few hours is the best way to get the correct depth.  You want the etch to be deep enough that the ink will not reach down to the negative areas, yet not too deep!  If the plate is allowed to sit too long in the solution the solution will start to undercut around the edges, this weaken the borders and will make a fuzzy image. 

I have done a lot of chemical etching, this was my most used method.  However, I rarely used the plates for printing.  I most commonly used the process to create jewelry, mostly belt buckles. 

Here are a few of my etched pieces:









Tuesday, January 8, 2013

Screen Printing. 

"Knives" Andy Warhol

Screen printing is a pretty modern art form.  I'd venture to say that everyone in the united states has at some point owned or will own a piece of screen printed art.  T-shirts are the most common form, most people are actually unaware of the amount of products that are actually screen printed.  From coffee mugs to Frisbees, they screen it all.  

Pop Art:

With the emergence of pop art in the late 50's came a flood of artists working on a mass scale, screen printing was the obvious medium.  Andy Warhol being God. 
  
Today many artists are still keeping the tradition alive.  There are tens of thousands of t-shirt screen printers, ranging from commercial printing to small scale ma and pop shops printing local artists and business logos. 

"Meat" Roy Lichtenstein

There are multiple methods to make a screen print, but the basic concept is placing a resist on a fine screen which acts as the negative to the print.  The screen is then placed over the object being printed and ink is pressed through the screen leaving a print on the surface.  With this process it is easy to make multiple layers in an assembly line styled operation.  Ink is "set" to the object by applying heat, for cloth items a quick spin in the dryer is enough to make it permanent. 
















Monday, January 7, 2013

Woodcuts. 



The practice of woodblock printing spans not only the ages but regions of the world.  From the incredibly complex multi-layered Japanese prints to the mid-evil European master printers.  Woodcuts started it all, before more modern techniques in printing it was all wood.

Woodcut printing is a relief printing method, meaning the negative of the image is cut away leaving the positive, or printed area for inking.

The tools involved range depending on the size of the piece, and the style.  Their are two basic types of chisel styles:  European and Japanese.  The European style have rounded handles which fit snugly in your palm, this style allows for more leverage while carving which is helpful when using hardwoods, however, they fall short on control.  The Japanese style chisels are equipped with straight handles, which provides for more accuracy, they also have removable blades so upgrades can be made due to wear.

In theory any wood can be used to make a print.  From heavily grained woods, to completely smooth panels, it all depends on your final vision.

One of the masters of Japanese printmaking, and creator of one of the most well known Japanese image is Katsushika Hokusai, and his piece The Great Wave off Kanagawa. 



There are many modern artists working with this medium today.  I'm going to highlight one of those individuals.  In someways she takes shortcuts to get her final product (uses a Dremel instead of chisels), but to her credit she is incredibly prolific, and has an enormous amount of work.

Her name:  Swoon
Occupation:  Street Artist.