Printmaking terms:
http://www.kqfineart.com/glossary/index.html#V
Edit your prints. Present your cleanest print from each technique.
Always present your work in a clean and professional manner.
Numbering and Signing Your Edition
Fraction “Title” Signature/ Year
1/10
Chemicals
Nitric Acid
Handling Nitric Acid:
Wear safety glasses when handling nitric acid.
Use gloves: butyl rubber, neoprene, or polyethylene are suitable for handling concentrations up to 70%
Diluting Nitric Acid:
"When diluting, the acid should always be added slowly to water and in small amounts. Never use hot water and never add water to the acid. Water added to acid can cause uncontrolled boiling and splashing. Containers of this material may be hazardous when empty since they retain product residues (vapors, liquid); observe all warnings and precautions listed for the product."
More information on 50-70% Nitric Acid:
http://www.jtbaker.com/msds/englishhtml/N3660.htm
Good site for Non-toxic printmaking:
http://www.nontoxicprint.com/index.htm
Monday, October 20, 2008
Relief Printing
Relief printing, the oldest form of expression in the graphic arts relies on one’s desire to communicate information through images. Woodcut is rooted in an illustrative history and has been used as an expression of religious sentiment, narrative impulse and political thought. The woodcut and linocut techniques heighten one's graphic response to what interests him or her.
In the woodcut or linocut technique, the image is defined by the upstanding, uncut area of the block, which is then inked and transferred to the paper.
Woodcut/Linocut and Relief Printing
Woodcut and Linocut are relief printing techniques in printmaking in which an image is carved into the surface of a block of wood or piece of linoleum. The areas that the printer does not intend to print are the areas that are removed or carved away, typically with gouges. The uncarved areas that remain at the original surface level are the areas that will be printed. The raised areas are covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface but not in the carved out, non-printing areas. Multiple colors can be printed by keying the paper to a frame around the woodblocks (where a different block is used for each color).
Reduction Woodcut/Linocut Prints
Reduction woodcuts are what the name implies: they are prints made by gradually reducing the printable areas of a wood block. This process involves working with a single block (matrix), printing a color, cutting more of the block, printing this new reduced image over the first print, and so forth depending on the number of colors the artist wants to print in a single image. The key to successfully making a reduction cut is planning and careful registration.
Preliminary Drawing
It is helpful to develop a preliminary drawing, at the same scale as the block, using colors you will ultimately print in. It is easiest, with respect to mixing the colors of your inks, to use a monochromatic approach to colors in the drawing and subsequently in the print. Consier using light colors firs Using two
monochromatic colors and a third, distinct color is also fine.
Paper Preparation and Registration System
When you have determined the size of the block/image, you’ll need to determine the dimensions of the
paper (and the kind of paper) you’ll print the finished image on. It may be easiest to work with a paper
dimension that is 14 – 15 inches wide and 22 or more inches in height). You may print on japanese
style papers on the press, but heavier etching-style papers will respond better to the pressure offered by
the press.
For an edition of 5 impressions (plus BAT and one AP), you should prepare more paper than you think
you’ll need (it’s easy to make mistakes in reduction prints as there are so many steps to keep track of).
Consider preparing 10 – 14 sheets of archival printmaking paper and an equal number of newsprints
sheets. TEAR ALL THE SHEETS (EDITIONING PAPER AND PROOFING PAPER) TO THE
EXACT SAME DIMENSIONS. Neatly stack all the sheets together in a pile that is editioning and
another pile that is newsprint.
Find the center line (lengthwise) of the proofing paper stack by measuring across the paper’s width and
dividing the length by two. Staggering the sheets, draw a single line with a pencil down the center of all
the sheets. Be sure the long edges are flush and neat. (see fig. 1). Do the same with the editioning
paper stack. Now you’re ready to use the registration system.
Registration Systems
There are a variety of systems printmakers can use to register their prints. The registration system, or
jig, allows you place the matrix in precisely the same place on the page every time. This is especially
handy when printing multiple colors with multiple matrices.
Get a registration jig and be sure you always use the same one for a single edition. You’ll be preparing
the paper for one particular jig and using a different one, mid-edition could have unfavorable
consequences. Find the center point of the interior area of the wooden jig – the part where the block
will be. This should be about 6 inches; mark it with a pencil (see fig. 2).
You’ll need to mark the paper to correspond to the pegs. This may be best done 3 – 4 sheets at a time if
the paper is thick. Neatly stack 3 – 5 sheets of paper at a time, edges flush; the mid-point marked in
pencil should be visible at the top of the topmost sheet of the stack. Lay the regisration system on the
stack of paper, with the top edge flush to the top edge of the stack of paper. Line up the mid point on the
paper with the mid point on the regisration jig. When everything is square and neat, mark the center of
each hole in the regisration jig, by using a scribe or needle to puncture the paper through all the sheets in
the stack. When this is done, remove the regisration jig. Using a hand hole-puncher, punch the holes
around the pin pricks. Double check that the paper is well registered by placing the dowels/pegs in the
holes and placing a sheet of paper on the registation jig, placing the dowels through the holes in the
paper. Repeat this step for all the sheets of editioning and proofing paper.
Congratulate yourself when this phase is complete!
This is the tedious, but critical part of the process.
Yippee for you!!!
Cutting the Block for the First Color
Plan to print the lightest and most transparent colors first and the darkest/opaque colors last.
Making ‘separations’ of your preliminary drawing may be helpful. To do this, use tracing paper to trace
three versions of the image corresponding to the areas for each color and use these three drawings to
guide the drawing and cutting of each phase of the print.
When you have prepared the paper and registration jig, you are ready to cut the block and print the first
color.
Mixing Ink
There are some fundamental rules to mixing ink colors so that you achieve the color you want quickly
and without wasting a lot of ink.
Always add dark colors to light, not light colors to dark. Example: to achieve a light blue, using cobalt
blue and white, place a tablespoon or so of white ink on the palette. In an area several inches away from
the white ink, lay out some cobalt ink. Lay the inks out with separate palette knives dedicated to each
color. Gradually add cobalt to the white ink pile until you achieve the color you want. The cobalt being
of strong pigmentation will quickly color the white, so use the blue sparingly and keep adding blue in
small amounts until you get the desired effect. Taking notes of your color mixing adventures will
help you mix colors more quickly and effectively in the future.
You can lighten colors by adding white or transparent base. Example: Mixing white and red will
lighten the red, but also make it turn pink quickly. An alternative is to add transparent base to the red
instead of white. This will reduce opacity/increase transparency of the red and maintain the hue more
faithfully.
Try to mix the amount of ink you’ll need for the entire ‘run’ in advance. This may require you to mix a
little more than you think you might need. Recall too that the first application of ink requires more as
the wood is dry and absorbent. Do your best to mix as much as you need, but not a vast quantity more
than you’ll need.
Save mixed colors in foil or wax paper. You may hold it in your drawer if you think you’ll use it again,
or document the contents of your mixed recipe and donate it to the studio.
Printing on Etching Presses
Press Printing
You’ll be printing your image using an etching press. Each press is built a little differently and you have
the ability to raise or lower the steel roller to suit the medium you’re passing through the press. For
woodblocks you’ll need to raise the steel rollers higher than you would for etching plates which are
thinner than woodblocks.
The presses – or your block --- can be damaged if the pressure is not set properly. So spend some time
setting up the press prior to inking your block to be sure that it’s set to print the best image possible.
You can do this by assembling the following elements in the following order:
On top Pusher blanket (stiffest thin blanket)
Tympanum (thinnest plexiglass)
Newspring (to protect and cushion)
Printing paper (or 3 – 4 sheets of proofing paper in place of editioning paper)
On bottom Wood block
[Press Bed]
Fig. 3
Place these on the press bed and SLOOOWWWLLLY advance the press bed toward the roller and up to
the pile of material. Ease the roller over the top of the pile.
If you feel like you’ll have to crank really hard to get the pile through, DON’T!! Back up the press,
relieve the pressure by a few increments, and try again.
If, conversely, you can run the pile through too easily (you barely feel any pressure as the block passes
under the roller), you may need to tighten up the pressure in SMALL INCREMENTS. Tighten the
pressure a bit, run the pile through, see how it feels, and adjust accordingly until it feels snug and the
block leaves a light, embossed impression in the paper.
• When you’re ready to print the first ‘run’ (‘run’ refers to color or layer), clean the block of debris
and dust.
• Use a brayer that is as wide as the block (or wider) to eliminate lap or roller marks.
• Ink the block outside of the registration jig – don’t get ink on the registration jig.
• Because you are utilizing the pressure of the press, and you are printing several layers of ink on a
single sheet, you don’t need to apply as much ink to these prints as you did to the hand-burnished
prints to achieve a uniform, dark color. In fact it is better to allow the first run to be just a tad bit
‘dry’ looking or transparent if a lot of this color will ultimately be buried by other colors. Applying
too much ink will slow the process: you’ll have to allow more time for the print to dry before
applying a second color.
Printing
Have a ‘clean hands person’ (or wash your hands between inking and printing) assemble the registration
jig and install a hole-punched sheet of paper (start with newsprint to proof). When you’ve thoroughly
inked the block, insert it into the registration jig and the clean hands person (CHP) will carefully lower
the paper onto the block, letting the ink stick the paper to the block. CHP will then (1) remove the
dowels from the jig, and (2) remove the jig itself, keeping the paper in place – don’t move it, the
registration will be compromised. CHP will then (3) lay down the newspring, the tympanum, the
blanket, being sure there are no wrinkles in the pile.
Now you’re ready to print. (This is the exciting part......)
Plan to print more impressions than you need for the edition/BAT/AP. Print all the editioning paper you
tear for the project. You may experience mistakes in the subsequent phases of the print and need extras
around just in case.
Drying/Storing Prints in Progress
The clean hands person will remove the print (take a minute to look at it and take joy in this great
moment!) to the drying rack.
Remove the print from the rack when its dry (about 2 – 5 days depending on how thick the ink
application is). Collect these when they are dry, take care of them (place interleaving or glassine or in a
pinch, newsprint between the printed sheets to keep them from sticking to each other) as you’ll continue
printing on them to complete the assignment.
Allow the first run to dry thoroughly before printing another color on top of it.
SUPPLIES
3-in-1 oil
Ballpoint pen
Blotters
Brayers
Chisels and gauges (U and V)
Cork backed ruler (at least 18”)
Dremel
Hand cleaner
India ink
Inks
Oil base block inks
Graphic Chemical Perfect Palette oil base block inks
Handschy litho inks
Linoleum
Masking tape/ artist’s tape (1 roll)
Mylar or acetate sheet for registration
Newsprint pad (18” x 24”)
Palette knife
Paper towels (only Bounty!)
Pencils and erasers
Printmaking paper (usually 22”x30”) Do not store your papers rolled up!
Suggested:
Hahnemuhle Copperplate
Pescia
Rives BFK
Somerset Book
Somerset Satin
Somerset Velvet
Mulberry (Kozo)
Gampi
Protective gloves (rubber or latex)
Q-tips
Respirator (optional)
Saral transfer paper
Sharpening stone
Sharpie markers
Shop apron (optional)
Shop rags (optional)
Sandpaper
Setswell compound
Sketchbook
Steel wire brush
Wood
Recommended: Shina wood
Wooden spoons
X-acto knife and blades
Topic: Single color block print
Topic: Negative/positive diptych
Topic: Color, Transparency mixing
Topic: Chine Colle
Topic: Reduction print
Topic: Multiple block print
Topic: Monoprint- minimum size 14”x18”
Topic: Exchange Folio
Woodcut and Linocut
Multiple Color Registration
“Kissing”
•Cut paper to the size of your block
•Roll ink onto your block
•Lay it down on your block edge to edge
•Print your image using the press
•While the ink on your print is still wet replace your used block with an uncarved block of the same size
•Place your wet image face down on the new block edge to edge and run it through the press
•The image will appear on your block and you can once again carve
In the woodcut or linocut technique, the image is defined by the upstanding, uncut area of the block, which is then inked and transferred to the paper.
Woodcut/Linocut and Relief Printing
Woodcut and Linocut are relief printing techniques in printmaking in which an image is carved into the surface of a block of wood or piece of linoleum. The areas that the printer does not intend to print are the areas that are removed or carved away, typically with gouges. The uncarved areas that remain at the original surface level are the areas that will be printed. The raised areas are covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface but not in the carved out, non-printing areas. Multiple colors can be printed by keying the paper to a frame around the woodblocks (where a different block is used for each color).
Reduction Woodcut/Linocut Prints
Reduction woodcuts are what the name implies: they are prints made by gradually reducing the printable areas of a wood block. This process involves working with a single block (matrix), printing a color, cutting more of the block, printing this new reduced image over the first print, and so forth depending on the number of colors the artist wants to print in a single image. The key to successfully making a reduction cut is planning and careful registration.
Preliminary Drawing
It is helpful to develop a preliminary drawing, at the same scale as the block, using colors you will ultimately print in. It is easiest, with respect to mixing the colors of your inks, to use a monochromatic approach to colors in the drawing and subsequently in the print. Consier using light colors firs Using two
monochromatic colors and a third, distinct color is also fine.
Paper Preparation and Registration System
When you have determined the size of the block/image, you’ll need to determine the dimensions of the
paper (and the kind of paper) you’ll print the finished image on. It may be easiest to work with a paper
dimension that is 14 – 15 inches wide and 22 or more inches in height). You may print on japanese
style papers on the press, but heavier etching-style papers will respond better to the pressure offered by
the press.
For an edition of 5 impressions (plus BAT and one AP), you should prepare more paper than you think
you’ll need (it’s easy to make mistakes in reduction prints as there are so many steps to keep track of).
Consider preparing 10 – 14 sheets of archival printmaking paper and an equal number of newsprints
sheets. TEAR ALL THE SHEETS (EDITIONING PAPER AND PROOFING PAPER) TO THE
EXACT SAME DIMENSIONS. Neatly stack all the sheets together in a pile that is editioning and
another pile that is newsprint.
Find the center line (lengthwise) of the proofing paper stack by measuring across the paper’s width and
dividing the length by two. Staggering the sheets, draw a single line with a pencil down the center of all
the sheets. Be sure the long edges are flush and neat. (see fig. 1). Do the same with the editioning
paper stack. Now you’re ready to use the registration system.
Registration Systems
There are a variety of systems printmakers can use to register their prints. The registration system, or
jig, allows you place the matrix in precisely the same place on the page every time. This is especially
handy when printing multiple colors with multiple matrices.
Get a registration jig and be sure you always use the same one for a single edition. You’ll be preparing
the paper for one particular jig and using a different one, mid-edition could have unfavorable
consequences. Find the center point of the interior area of the wooden jig – the part where the block
will be. This should be about 6 inches; mark it with a pencil (see fig. 2).
You’ll need to mark the paper to correspond to the pegs. This may be best done 3 – 4 sheets at a time if
the paper is thick. Neatly stack 3 – 5 sheets of paper at a time, edges flush; the mid-point marked in
pencil should be visible at the top of the topmost sheet of the stack. Lay the regisration system on the
stack of paper, with the top edge flush to the top edge of the stack of paper. Line up the mid point on the
paper with the mid point on the regisration jig. When everything is square and neat, mark the center of
each hole in the regisration jig, by using a scribe or needle to puncture the paper through all the sheets in
the stack. When this is done, remove the regisration jig. Using a hand hole-puncher, punch the holes
around the pin pricks. Double check that the paper is well registered by placing the dowels/pegs in the
holes and placing a sheet of paper on the registation jig, placing the dowels through the holes in the
paper. Repeat this step for all the sheets of editioning and proofing paper.
Congratulate yourself when this phase is complete!
This is the tedious, but critical part of the process.
Yippee for you!!!
Cutting the Block for the First Color
Plan to print the lightest and most transparent colors first and the darkest/opaque colors last.
Making ‘separations’ of your preliminary drawing may be helpful. To do this, use tracing paper to trace
three versions of the image corresponding to the areas for each color and use these three drawings to
guide the drawing and cutting of each phase of the print.
When you have prepared the paper and registration jig, you are ready to cut the block and print the first
color.
Mixing Ink
There are some fundamental rules to mixing ink colors so that you achieve the color you want quickly
and without wasting a lot of ink.
Always add dark colors to light, not light colors to dark. Example: to achieve a light blue, using cobalt
blue and white, place a tablespoon or so of white ink on the palette. In an area several inches away from
the white ink, lay out some cobalt ink. Lay the inks out with separate palette knives dedicated to each
color. Gradually add cobalt to the white ink pile until you achieve the color you want. The cobalt being
of strong pigmentation will quickly color the white, so use the blue sparingly and keep adding blue in
small amounts until you get the desired effect. Taking notes of your color mixing adventures will
help you mix colors more quickly and effectively in the future.
You can lighten colors by adding white or transparent base. Example: Mixing white and red will
lighten the red, but also make it turn pink quickly. An alternative is to add transparent base to the red
instead of white. This will reduce opacity/increase transparency of the red and maintain the hue more
faithfully.
Try to mix the amount of ink you’ll need for the entire ‘run’ in advance. This may require you to mix a
little more than you think you might need. Recall too that the first application of ink requires more as
the wood is dry and absorbent. Do your best to mix as much as you need, but not a vast quantity more
than you’ll need.
Save mixed colors in foil or wax paper. You may hold it in your drawer if you think you’ll use it again,
or document the contents of your mixed recipe and donate it to the studio.
Printing on Etching Presses
Press Printing
You’ll be printing your image using an etching press. Each press is built a little differently and you have
the ability to raise or lower the steel roller to suit the medium you’re passing through the press. For
woodblocks you’ll need to raise the steel rollers higher than you would for etching plates which are
thinner than woodblocks.
The presses – or your block --- can be damaged if the pressure is not set properly. So spend some time
setting up the press prior to inking your block to be sure that it’s set to print the best image possible.
You can do this by assembling the following elements in the following order:
On top Pusher blanket (stiffest thin blanket)
Tympanum (thinnest plexiglass)
Newspring (to protect and cushion)
Printing paper (or 3 – 4 sheets of proofing paper in place of editioning paper)
On bottom Wood block
[Press Bed]
Fig. 3
Place these on the press bed and SLOOOWWWLLLY advance the press bed toward the roller and up to
the pile of material. Ease the roller over the top of the pile.
If you feel like you’ll have to crank really hard to get the pile through, DON’T!! Back up the press,
relieve the pressure by a few increments, and try again.
If, conversely, you can run the pile through too easily (you barely feel any pressure as the block passes
under the roller), you may need to tighten up the pressure in SMALL INCREMENTS. Tighten the
pressure a bit, run the pile through, see how it feels, and adjust accordingly until it feels snug and the
block leaves a light, embossed impression in the paper.
• When you’re ready to print the first ‘run’ (‘run’ refers to color or layer), clean the block of debris
and dust.
• Use a brayer that is as wide as the block (or wider) to eliminate lap or roller marks.
• Ink the block outside of the registration jig – don’t get ink on the registration jig.
• Because you are utilizing the pressure of the press, and you are printing several layers of ink on a
single sheet, you don’t need to apply as much ink to these prints as you did to the hand-burnished
prints to achieve a uniform, dark color. In fact it is better to allow the first run to be just a tad bit
‘dry’ looking or transparent if a lot of this color will ultimately be buried by other colors. Applying
too much ink will slow the process: you’ll have to allow more time for the print to dry before
applying a second color.
Printing
Have a ‘clean hands person’ (or wash your hands between inking and printing) assemble the registration
jig and install a hole-punched sheet of paper (start with newsprint to proof). When you’ve thoroughly
inked the block, insert it into the registration jig and the clean hands person (CHP) will carefully lower
the paper onto the block, letting the ink stick the paper to the block. CHP will then (1) remove the
dowels from the jig, and (2) remove the jig itself, keeping the paper in place – don’t move it, the
registration will be compromised. CHP will then (3) lay down the newspring, the tympanum, the
blanket, being sure there are no wrinkles in the pile.
Now you’re ready to print. (This is the exciting part......)
Plan to print more impressions than you need for the edition/BAT/AP. Print all the editioning paper you
tear for the project. You may experience mistakes in the subsequent phases of the print and need extras
around just in case.
Drying/Storing Prints in Progress
The clean hands person will remove the print (take a minute to look at it and take joy in this great
moment!) to the drying rack.
Remove the print from the rack when its dry (about 2 – 5 days depending on how thick the ink
application is). Collect these when they are dry, take care of them (place interleaving or glassine or in a
pinch, newsprint between the printed sheets to keep them from sticking to each other) as you’ll continue
printing on them to complete the assignment.
Allow the first run to dry thoroughly before printing another color on top of it.
SUPPLIES
3-in-1 oil
Ballpoint pen
Blotters
Brayers
Chisels and gauges (U and V)
Cork backed ruler (at least 18”)
Dremel
Hand cleaner
India ink
Inks
Oil base block inks
Graphic Chemical Perfect Palette oil base block inks
Handschy litho inks
Linoleum
Masking tape/ artist’s tape (1 roll)
Mylar or acetate sheet for registration
Newsprint pad (18” x 24”)
Palette knife
Paper towels (only Bounty!)
Pencils and erasers
Printmaking paper (usually 22”x30”) Do not store your papers rolled up!
Suggested:
Hahnemuhle Copperplate
Pescia
Rives BFK
Somerset Book
Somerset Satin
Somerset Velvet
Mulberry (Kozo)
Gampi
Protective gloves (rubber or latex)
Q-tips
Respirator (optional)
Saral transfer paper
Sharpening stone
Sharpie markers
Shop apron (optional)
Shop rags (optional)
Sandpaper
Setswell compound
Sketchbook
Steel wire brush
Wood
Recommended: Shina wood
Wooden spoons
X-acto knife and blades
Topic: Single color block print
Topic: Negative/positive diptych
Topic: Color, Transparency mixing
Topic: Chine Colle
Topic: Reduction print
Topic: Multiple block print
Topic: Monoprint- minimum size 14”x18”
Topic: Exchange Folio
Woodcut and Linocut
Multiple Color Registration
“Kissing”
•Cut paper to the size of your block
•Roll ink onto your block
•Lay it down on your block edge to edge
•Print your image using the press
•While the ink on your print is still wet replace your used block with an uncarved block of the same size
•Place your wet image face down on the new block edge to edge and run it through the press
•The image will appear on your block and you can once again carve
Intaglio Printing
Intaglio-- engraving, etching, aquatint, dry point
- the image is incised into the plate, which is then covered with ink and the uncut surface wiped clean, before the paper is pressed into the image area to pick up the ink.
Dry point
In dry point, the artist "draws" directly on a copper plate with a sharp stylus. No etching is involved. The point of the stylus creates a "burr" of copper on either side as it is scored through the metal. In the printing process, the burr holds additional ink, giving the finished print a velvety richness unique to this method.
(http://www.fitch-febvrel.com/drypoint.html)
Etching
In etching, the artist covers a metal plate (usually copper) with a resinous substance (or ground) that is acid-resistant. The artist then "draws" on the ground with a sharp needle. Wherever the needle is applied the ground is removed, so that in an acid bath those exposed lines are eaten away, or etched. The plate is then inked and wiped, leaving ink in the grooves created by the acid. When the plate is placed on damp paper and put through the printing press, the paper is forced into the inked grooves. For each print in an edition, the plate must be re-inked and wiped.
(http://www.fitch-febvrel.com/etching.html)
Etching Registration
Using a clear mylar or acetate
Position plate on mylar and trace. Remember the mylar will be placed Sharpie side down on the press bed so your measurements will reverse- this is important if you are chosing not to center your plate.
Xerox Transfer
Silk Aquatint
Silk Aquatint or Silk Collagraph is a non-acid method of making a print plate where the image is created by painting with whitened acrylic medium on a black silk surface backed with plastic. It produces a variety of tones & textures. The silk aquatint plate-making method is intaglio printed through an etching press and can last for over one-hundred impressions.Drawing, mark making and texture through woodcut and linocut techniques
Collagraph
An opportunity to explore both collage and printmaking. In this intensive one-day workshop, participants will explore the techniques of collaging textural elements onto boards; Experiment with both intaglio and relief printing. Work will culminate in learning to pull prints from an etching press.
SUPPLIES
3-in-1 oil
Ballpoint pen
Blotters
Brasso (copper polish)
Brushes (assorted sizes)
Burnisher
Contact paper
Copper etching plates (16 or 18 gauge)
Cork backed ruler (at least 18”)
Etching ink- (Charbonnel black 55981, 55985, R.S.R. is recommended)
Etching needle/ scribe
Flat file
Foam brushes
Hand cleaner
Magnifying glass, jeweler’s loupe
Masking tape/ Artist’s tape (1 roll)
Mylar or acetate sheet for registration
Newsprint pad (18” x 24”)
Opaque ink for film or acetate (Rapidograph)
Palette knife
Paper towels (only Bounty!)
Pencils and erasers
Photo etching plate (to be discussed)
Plastic scrapers/ chips/ palette knives (optional)
Printmaking paper (usually 22”x30”) Do not store your papers rolled up!
Suggested:
Hahnemuhle Copperplate
Pescia
Rives BFK
Somerset Book
Somerset Satin
Somerset Velvet
Suggested for chine colle: (natural-fiber papers)
Mulberry
Gampi Torinoko
Protective gloves (rubber or latex)
Q-tips
Respirator (optional)
Roulette (optional)
Saral transfer paper
Scotch tape (1 roll)
Scraper (optional)
Sharpie markers
Shop apron (optional)
Shop rags (optional)
Solar etching plate (to be discussed)
Sketchbook
Steel wool- (superfine #0000) and sandpaper
Transparencies (to be discussed)
Yellow sketch paper (roll)
X-acto knife and blades
Dry point
Edition of 5
Hard ground
Edition of 5
Soft ground
Edition of 5
Aquatint
Edition of 5
Color Techniques:
A la poupee
Chine colle
Chine-collé
Chine-collé roughly translates from French; chine meaning tissue and collé meaning glue or paste. This is because thin tissue paper, originally imported from China, India and Japan was used in the process. These delicate materials were very weak, therefore printers bonded them to the stronger Western plate paper to increase integrity. This method of fusing the two surfaces together varies among printmakers.
Many printers use chine-collé to introduce color and texture using a variety of lightweight papers into an etching. Paper that is most compatible with general etching papers should be good quality and made of natural-fiber papers with some degree of lightfastness. In this process, chine-collé papers are cut or torn into desired shapes, then dampened between blotters until uniformly moist. A printing paper used for the etching is then blotted to remove excess water. The chine-collé papers are then brushed with a coating of paste on one side and placed on top of the inked plate in their desired locations, paste side up.
The chine-collé papers adhere to the plate enough to remain undisturbed when the dampened printing paper is placed on top. The pressure from the bed laminates both the chine-collé paper and the etching paper. The ink from the plate prints on top of the chine-collé papers, creating some interesting and unusual effects with lines, tones, and values.
Originally printers only used chine-collé as a mounting technique, but it has been used by contemporary artists as a collage technique. The pressure of the press usually gives collaged materials a flat seamless look, and the archival bond created by wheat paste can help to extend the life of non-archival materials (magazine clippings, and other ephemera commonly used in collage).
Surface roll
Choose any plate to print using each color technique. You will have 1 print inked a la poupee, 1 chine colle, and 1 surface roll.
ALTERNATIVE TECHNIQUES AND ACID RESISTS
Lift Ground
Spitbite
Lithocrayon
Photo Techniques
Zerox Transfer
Photo Etching
Solar Plate Etching
Silkscreen Stencil
Multiple Plate Printing
You must use a minimum of two plates. Create a layered image or montage using any of the techniques learned thus far. Edition of 5 due, may be varied
Collaborative book project
Exchange Folio
Theme: Fantasy/Mythology/Legends
Plate size: 8”x10”
Print size: 11”x 14”
Edition of 12 prints due
- the image is incised into the plate, which is then covered with ink and the uncut surface wiped clean, before the paper is pressed into the image area to pick up the ink.
Dry point
In dry point, the artist "draws" directly on a copper plate with a sharp stylus. No etching is involved. The point of the stylus creates a "burr" of copper on either side as it is scored through the metal. In the printing process, the burr holds additional ink, giving the finished print a velvety richness unique to this method.
(http://www.fitch-febvrel.com/drypoint.html)
Etching
In etching, the artist covers a metal plate (usually copper) with a resinous substance (or ground) that is acid-resistant. The artist then "draws" on the ground with a sharp needle. Wherever the needle is applied the ground is removed, so that in an acid bath those exposed lines are eaten away, or etched. The plate is then inked and wiped, leaving ink in the grooves created by the acid. When the plate is placed on damp paper and put through the printing press, the paper is forced into the inked grooves. For each print in an edition, the plate must be re-inked and wiped.
(http://www.fitch-febvrel.com/etching.html)
Etching Registration
Using a clear mylar or acetate
Position plate on mylar and trace. Remember the mylar will be placed Sharpie side down on the press bed so your measurements will reverse- this is important if you are chosing not to center your plate.
Xerox Transfer
- Clean and Degrease a new plate
- Set the press fairly tight
- Place the plate on the press bed
- Place a photo copy or laser print face down and saturate the entire back with wintergreen oil
- Cover the plate and copy with newsprint as you would normally do
- Place the balnkets down and run the press
- Peel corner up and check the transfer. If it does not look dark enough try to tighten the pressure and run ith through again
Silk Aquatint
Silk Aquatint or Silk Collagraph is a non-acid method of making a print plate where the image is created by painting with whitened acrylic medium on a black silk surface backed with plastic. It produces a variety of tones & textures. The silk aquatint plate-making method is intaglio printed through an etching press and can last for over one-hundred impressions.Drawing, mark making and texture through woodcut and linocut techniques
Collagraph
An opportunity to explore both collage and printmaking. In this intensive one-day workshop, participants will explore the techniques of collaging textural elements onto boards; Experiment with both intaglio and relief printing. Work will culminate in learning to pull prints from an etching press.
SUPPLIES
3-in-1 oil
Ballpoint pen
Blotters
Brasso (copper polish)
Brushes (assorted sizes)
Burnisher
Contact paper
Copper etching plates (16 or 18 gauge)
Cork backed ruler (at least 18”)
Etching ink- (Charbonnel black 55981, 55985, R.S.R. is recommended)
Etching needle/ scribe
Flat file
Foam brushes
Hand cleaner
Magnifying glass, jeweler’s loupe
Masking tape/ Artist’s tape (1 roll)
Mylar or acetate sheet for registration
Newsprint pad (18” x 24”)
Opaque ink for film or acetate (Rapidograph)
Palette knife
Paper towels (only Bounty!)
Pencils and erasers
Photo etching plate (to be discussed)
Plastic scrapers/ chips/ palette knives (optional)
Printmaking paper (usually 22”x30”) Do not store your papers rolled up!
Suggested:
Hahnemuhle Copperplate
Pescia
Rives BFK
Somerset Book
Somerset Satin
Somerset Velvet
Suggested for chine colle: (natural-fiber papers)
Mulberry
Gampi Torinoko
Protective gloves (rubber or latex)
Q-tips
Respirator (optional)
Roulette (optional)
Saral transfer paper
Scotch tape (1 roll)
Scraper (optional)
Sharpie markers
Shop apron (optional)
Shop rags (optional)
Solar etching plate (to be discussed)
Sketchbook
Steel wool- (superfine #0000) and sandpaper
Transparencies (to be discussed)
Yellow sketch paper (roll)
X-acto knife and blades
Dry point
Edition of 5
Hard ground
Edition of 5
Soft ground
Edition of 5
Aquatint
Edition of 5
Color Techniques:
A la poupee
Chine colle
Chine-collé
Chine-collé roughly translates from French; chine meaning tissue and collé meaning glue or paste. This is because thin tissue paper, originally imported from China, India and Japan was used in the process. These delicate materials were very weak, therefore printers bonded them to the stronger Western plate paper to increase integrity. This method of fusing the two surfaces together varies among printmakers.
Many printers use chine-collé to introduce color and texture using a variety of lightweight papers into an etching. Paper that is most compatible with general etching papers should be good quality and made of natural-fiber papers with some degree of lightfastness. In this process, chine-collé papers are cut or torn into desired shapes, then dampened between blotters until uniformly moist. A printing paper used for the etching is then blotted to remove excess water. The chine-collé papers are then brushed with a coating of paste on one side and placed on top of the inked plate in their desired locations, paste side up.
The chine-collé papers adhere to the plate enough to remain undisturbed when the dampened printing paper is placed on top. The pressure from the bed laminates both the chine-collé paper and the etching paper. The ink from the plate prints on top of the chine-collé papers, creating some interesting and unusual effects with lines, tones, and values.
Originally printers only used chine-collé as a mounting technique, but it has been used by contemporary artists as a collage technique. The pressure of the press usually gives collaged materials a flat seamless look, and the archival bond created by wheat paste can help to extend the life of non-archival materials (magazine clippings, and other ephemera commonly used in collage).
Surface roll
Choose any plate to print using each color technique. You will have 1 print inked a la poupee, 1 chine colle, and 1 surface roll.
ALTERNATIVE TECHNIQUES AND ACID RESISTS
Lift Ground
Spitbite
Lithocrayon
Photo Techniques
Zerox Transfer
Photo Etching
Solar Plate Etching
Silkscreen Stencil
Multiple Plate Printing
You must use a minimum of two plates. Create a layered image or montage using any of the techniques learned thus far. Edition of 5 due, may be varied
Collaborative book project
Exchange Folio
Theme: Fantasy/Mythology/Legends
Plate size: 8”x10”
Print size: 11”x 14”
Edition of 12 prints due
Screen Printing
“Silkscreen is based on the principle of the stencil… in silkscreen printmaking, stencils, or shapes made with material thick enough to fill in (open areas) block the ink. The ink moves through the screen in the unblocked areas and prints onto paper or another surface placed below the screen… The modern silkscreen process is a straightforward and simple way to accomplish multicolor printmaking…. Unlike other printmaking methods, the silkscreen image is not reversed when printed but appears in the same direction as the original.”
From Basic PRINTMAKING Techniques by Bernard Toale
Screen Prints, Serigraphs, Silkscreen Prints
Silkscreen printing is basically a stenciling process. Simply stated, in screen printing, ink is transferred to the paper by being squeezed through a fine mesh (the screen), whereby the image is created by the use of stencils through which the ink does not pass. The screen consists of mesh stretched on a frame. A squeegee is used to force the ink through the exposed sections of screen.
Notes on Mesh
• The lower the mesh count the larger the open areas.
Larger open areas allow for more ink flow.
Use a lower mesh count for less delicate deigns.
• The higher the mesh count the finer the open areas between the crossing fibers.
Very fine mesh is needed for halftone
Monofilament Polyester (Yellow)
•195-230 Best for handmade stencils or painterly strokes
•230-305 For fine detail
•240-260 best for water-based ink
•260-305 is best for fine photo or computer generated imagery
Multifilament Polyester (White)
•Strength of fiber is denoted by x’s.
X= weakest
Xxx= strongest
•Average 12xx-14xx
•Textile 8xx-10xx
Tape
•Water-resistant tape on the frame prevents ink from leaking under the frame lumber and keeps the edges of your prints clean.
Frame size
•The screen should be approximately 3” larger in width from the inside and 6” in length than the printing area. Ex. An image which is 18”x 24” should be on a 21”x 30” frame.
Squeegees
•The squeegee should be 2” longer than the width of the printing area.
Types of squeegees:
•Rubber- generally gray or tan
*Polyurethane- generally clear or amber, sometimes green (recommended)
•Squeegee blades are shaped according to projects, do research if you plan doing something special otherwise a squared blade is good for general printing.
Scoop Coater
•The scoop coater is used to coat screen with screen filler after the drawing fluid has dried or to coat the screen with photo emulsion.
Inks
•Permanent Acrylic Ink – water-based ink that dries water-resistant. This type of ink must be washed out of screen immediately upon finishing printing or it will permanently adhere to the screen and ruin the mesh.
Additives
Extender Base- may be mixed with the acrylic ink to extend the pigment. A little will give you more ink to use without affecting the opacity too much, however if you use more than 50% base the ink becomes noticeably more translucent.
GOLDEN Silkscreen Medium- is a water-borne system designed to blend with acrylic paints for silk-screen application onto paper, wood and other suitable fine art materials. This product is designed to increase working time and prevent paint from drying in the screen too quickly.
GOLDEN Retarder- increases your “open” or work time by slowing the drying time.
Printing Tips
•Make sure there is a generous amount of ink on your screen.
•Flooding in one stroke evens out your Ink.
•The squeegee should be at a 45 degree angle.
•Print with an ample amount of pressure on your squeegee Keep your pressure even.
Making Multiple Color Separations
When printing multiple colors you need to think of each color as a separate layer and design accordingly.
• Create your image keeping in mind which color will go where. Remember that the results of silkscreen printing are often flat even colors so design your image accordingly.
• Identify the darkest color (often black) in the design.
• Use tracing paper, paper and a light table, or the computer to separate only the darkest color in your the design. This will be your "key" printer - the guide that all the other colors are keyed to. Black is often used to "trap" other colors - that is, outline them - and since it will be the last color printed, it will overlap anything it traps.
• Make a separation for each of the other colors in your design (for example, if yellow and red are your other two colors, you'll have three tracings: one for black, one for yellow and one for red). Place each of these separations over the black and make sure they match up (register) reasonably well. This is a color separation.
• Transfer each separation onto different silk screens, an isolated area on the same silk screen or do the process one by one. Do this by laying the separation on the screen and flipping the screen over so that you can see the tracing through the screen; trace the design onto the silk screen with a soft, dull pencil; then render, using drawing fluid and screen filler, screen filler, or photo emulsion. Each color will have its own stencil.
Tips
• These colors will be recombined later in the printing process. Keep your design simple for ease of printing and registration.
• The highlights of your design will be the white of your paper or fabric. In creating your design, don't overlook the opportunity to use these highlights to your advantage.
Stencil Techniques
SCREEN FILLER METHOD
Direct Block-out or "Negative Method"; drawn/painted areas do not print
The Screen Filler is used to block out areas that you do not wish to print. This allows the ink to be forced through the screen wherever the Screen Filler has not been applied.
Since Screen Filler is applied to all areas that are not to be printed, this is considered to be a "negative" method of printing. Your print will be the opposite of that which you created on your screen.
• Trace the first color of your design onto the screen with a soft pencil.
• Stir the Screen Filler until it is thoroughly mixed to a smooth consistency. Select an appropriate brush. This will be determined according to the type of line or texture to be produced. You can work on either the front or back of the screen. Be certain that the bottom of screen is elevated-not touching the table. Paint areas of the layout that you do not want to print. When all areas to be blocked out are covered with Screen Filler, flip the screen over and smooth out places the filler may have collected on the opposite side of the screen. Be careful during this smoothing out not to distort your work.
• Leave the screen to dry in a level position. Make sure nothing touches the areas covered with Screen Filler. Thorough drying is necessary. Overnight drying is recommended to assure best results.
• Check for pinholes in the blocked-out areas. You can do this by holding the screen up to a light. Fill any pinholes with screen filler and allow to dry completely. You are now ready to print.
• Trace the second color of your design onto the screen and repeat the steps.
DRAWING FLUID - SCREEN FILLER METHOD
Tusche-resist or " Positive Method”;drawn/painted areas print the ink color
Any area where you put drawing fluid will print as a positive - that is, ink will come through the open mesh during the printing process.
• Trace the first color of your design onto the screen or you may choose to paint freehanded with the fluid onto your screen.
• Select an appropriate brush. This will be determined by the type of line or texture to be produced. You can work on either side of the screen.
• Be certain that screen is elevated-not touching table. Paint the Drawing Fluid over those areas of your separation that you want to print. Leave the screen to dry in a level, flat position. Make sure nothing touches the areas covered with Drawing Fluid.
• After the Drawing Fluid is completely dry, open the Screen Filler and mix it thoroughly to a smooth consistency. Spoon it onto the screen fabric on the same side of the screen used for the application of Drawing Fluid.
• Use the squeegee or the plastic spreader to apply an evenly smooth coating of screen filler over the entire screen. One pass should be sufficient. Multiple passes of Screen Filler will dissolve the Drawing Fluid and prevent character washout.
• Place the screen to dry in a horizontal position making sure nothing touches the fabric. It is important that the Screen Filler dry completely.
• When the Screen Filler has thoroughly dried, spray cold water on both sides of the screen. DO NOT USE HOT WATER DURING THIS STAGE. Concentrate the spray on the areas where Drawing Fluid was applied. These areas will dissolve and the screen will become open at those points so that ink can flow through them.
• If some areas remain slightly blocked, scrub them lightly with a small stiff brush on both sides of the screen (an old toothbrush will do a good job). Allow your screen to dry in a level (horizontal) position, bottom-side up.
*Drying time may be accelerated by using a hair dryer or fan.
• After you rinse out the drawing fluid and let the screen dry, you can touch up or refine your drawing with screen filler.
Technical Notes:
1. Always wash acrylic ink out of screen immediately after you are finished printing.
2. Always tape the edges of the screen so that ink cannot get under the frame.
3. Drawing fluid must be dry before applying screen filler.
4. Screen filler must be dry before washing out areas where drawing fluid was used.
5. DO NOT use hot water when washing drawing fluid out of the screen. The hot water may also wash out the screen filler.
6. When you are finished with the image, rinse ink out of screen, then rinse drawing fluid and screen filler out. To clean screen filler, wash the screen with dish detergent (or Grease Lightning if necessary), water and a sponge, then let it sit wet for a few minutes and hose it down with the power washer. When you are finished, give it one last wipe with degreasing liquid, rinse that out and store your screen or place it in front of a fan if you’d like it to dry more quickly.
PHOTOGRAPHIC EMULSION METHOD
This is one of the most exciting methods of Screen Printing because it offers the widest range of possibilities. It makes possible the printing of fine line drawings, various hand and commercial lettering techniques, as well as photographic halftone positives.
All methods of photographic Screen Printing require three things:
• a screen prepared with a light-sensitive coating
• a film positive, or equal
• a light source that will enable you to transfer the opaque
images on your positive to the light sensitive screen you
have prepared.
• Step A--Mixing the photo emulsion
SPEEBALL DIAZO SYSTEM:
SB4558 Diazo Kit Follow the mixing instructions given on both containers. Store the sensitized emulsion in a cool and dark place. Shelf life for the sensitized emulsion is 4 weeks at 90 Degrees F, 8 weeks at 70 Degrees F and 4 months when refrigerated.
•Step B--Coating the screen
Coat the screen by first pouring the emulsion into the scoop coater. Rock the scoop coater back and forth slightly to move the emulsion towards the edge. Pull the scoop coater with emulsion upwards against the screen stopping at the top and catching any excess emulsion. Cover the entire screen. Work to achieve a continuous, even THIN coating on one side of the screen fabric. Many choose to coat both sides of the screen. At home if you do not have a scoop coater you can use a squeegee to spread the emulsion. Return any excess solution to your emulsion container.
•Step C--Drying the coated screen
In an area AWAY FROM LIGHT AND HEAT, set the screen against the wall to dry. Do not allow the wet emulsion to touch anything. Allow the screen to dry thoroughly. Once the sensitized screen is dry, it must remain in a darkened area until it is ready to be exposed. A fan in the dark area will greatly speed up the drying of the emulsion on the screen.
With the SPEEDBALL Bichromate System, the maximum allowable time between application of the sensitized emulsion to the screen and the exposure is 6 hours at room temperature. With the SPEEDBALL Diazo System, the maximum allowable time is eight weeks at room temperature.
• Step D--Preparing a positive
A "positive" is any opaque image (usually black), on any transparent or translucent surface. There are many ways you may choose to prepare them. The graphics must be opaque.
One way of producing positives is through copy machines that have the capability of reproducing very opaquely on film, vellum, tracing paper, etc. In order to satisfactorily produce a positive using a copy machine, the following conditions must be met:
. (1) Black and white line work-Must be opaque
. (2) Photographic print-Must have high contrast
. (3) Copy machine must have capability stated above. You must check this out in advance.
Another way of producing positives is through the computer. Scan your image into the computer and use a program such as Photoshop to separate colors. Your separations should be made into black and white images. To reproduce photographs you may wish to use the halftone filter in Photoshop. Some printers may offer halftone as a printing option.
A third option is to make a laser print or photocopy following the above guidelines on white laser or copy paper. After the image has been printed on the paper saturate the back of the paper (non-image side down) with vegetable oil. Exposure time may be slightly longer.
Photographic images can also be accurately screen-printed. However, because of the halftones (or continuous tones), which are in all photographs, a special type of "positive" must be prepared. This must be done by someone with photographic expertise and who has the necessary equipment. Essentially, this person will photographically transfer the halftones to Kodalith Ortho film. A dot patterned half-tone screen will be placed between the lens, and the ortho film. These "halftone" dots will be exposed to the film simultaneously with the photograph. The resulting "halftone" negative will then be converted by the photographer to a "halftone" positive. This is the same type of "conversion" that is made in the preparation of photographs for newspaper and magazine printing. The dot pattern breaks up the continuous tones into a half-tone interpretation that can be printed.
Fine art half-tone screen-printing involves a posterization process whereby a series of selected positives are produced through a process camera. With filters, the process camera can selectively identify specific colors in the original art. These are then, sequentially prepared for color registry. This is a highly technical procedure and should be attempted only by experienced printers.
• Step E-- Exposing
Before you remove the sensitized screen from the dark drying area, make sure everything you need to print with is on hand. Set up your exposure unit (lamp if you do this at home) and positives which can be fixed in place with transparent tape. It is better not to overlap positives. Once your "positives" are in place and against the fabric, you are ready to expose the screen.
Home exposing
To set up your "Light Station" place the screen on top of a piece of black paper and center it 12 inches directly below a 150W clear incandescent bulb or a BBA No.1 Photoflood (preferred) Bulb. Either should be fitted with a foil-type pie tin as a reflector.
The positive can be placed in contact with the coated (dry) screen with a heavy sheet of glass placed on top for pressure. Another method employs the use of a foam rubber cushion, which is cut to the inside, dimensions of the screen frame. The positive is placed in reverse (mirror image) on top of the underside of the screen.
SPEEDBALL SCREEN PRINTING SYSTEM
Recommended Exposure Chart
150 Watt Bulb, Clear Incandescent
Screen Size 150W Bulb Height Exposure Time
8" x10" 12 inches 45 minutes
10"x14” 12 inches 45 minutes
12"x18” 15 inches 1 hr. 14 minutes
16"x20” 17 inches 1 hr. 32 minutes
18"x20" 17 inches 1 hr. 32 minutes
BBA No. 1 Photoflood (250 Watt)
Screen Size Lamp Height Exposure Time
8" x 10” 12 inches 10 minutes
10"x14" 12 inches 10 minutes
12"x18" 15 inches 16 minutes
16"x2O" 17 inches 20 minutes
18"x2O" 17 inches 20 minutes
PLEASE NOTE: This chart has been prepared using an aluminum foil pie-plate reflector
More sophisticated light sources, reflectors and equipment can, of course, be used. However, as any variable is changed, you will have to adjust the exposure times and distances. This will require experimentation through the use of test strips or other light testing devices or procedures.
Turn on the light and note the time. Experiment with timing. If done at home expose according to time and distance indicated in chart. After exposure, remove positive and take screen to sink.
• Step F—Opening the image
Apply a forceful spray of water to both sides of the screen. DO NOT USE HOT WATER. Concentrate this spray on the light images. After a few minutes, these areas will become "open." Continue spraying until all unwanted emulsion is gone. Once you have completely washed the screen, let it dry thoroughly in a level flat position. Hold the dry frame to the light and check for pinholes. These can be covered with Speedball Screen Filler or pieces of masking/ block-out tape. If Screen Filler is used, let the screen dry again.
NOTE: Photo Emulsion should not be left in the screen indefinitely unless a permanent stencil is wanted. It should be washed out as soon as the run is completed.
Ruby Lith or Amber Lith
From the field of printmaking, ruby lith is thin, flexible, translucent, dark red material, used for masking areas of a light sensitive medium that shouldn't be exposed. It is slightly tacky on one side, and mostly stays in place on acetate or film or whatever. It comes in individual sheets stuck to a piece of acetate, or on a roll like tape. To use it, you usually use an x-acto knife to trace out whatever mask shape you want, then peel off the shape and put it wherever it's needed.
There are machines that use lasers to cut pieces of ruby lith very finely and in intricate shapes, but shops that can afford them have mostly gone digital nowadays. In fact, the use of ruby lith by any print shop is pretty archaic, since digital processing has become so cheap and common. This is too bad, as cutting and aligning a mask by hand is something of an art, or so I've been told.
Ruby Lith fun facts:
* Ruby lith is the reason that masks made in Photoshop are reddish, and referred to as rubies.
* The first microprocessors (and ICs in general) were designed using by cutting the conductor and transistor patterns in ruby lith, and then focusing them down in size with lenses to expose the doped silicon. This process is called photolithography.
* All of the artwork used in the OBEY GIANT project were designed by cutting ruby, even the lettering.
Registration
Multiple- Color printing
•Make sure you have separations made by drawing, tracing or computer printing
Each color in your print is a separate layer and therefore has its own stencil.
•Make sure your separations match up by layering them and viewing them on a light box.
•Transfer each separation one by one to your screen
Keep in mind color choice and layering. You may want to use your lightest separation first.
You will need:
•Sheet of Acetate or Mylar larger than your paper size
•Masking tape
•Proofing paper
•Editioning paper
•Screen and materials ready to print
•Cut your paper down to size (both proofing and editioning).
•Place screen in hinges and gather materials to print
•Tape the acetate to the table
The tape is a hinge for the Mylar.
•Make a print on the acetate
•Slide a piece of proofing paper under the acetate and position it correctly
•Raise the acetate and mark the position of your paper on the baseboard
•Print on the paper
Cardboard guides:
Optional; Figure out what works for you. This will give you something to butt your paper up against.
•Cut 1” x 2” cardboard or mat board strips
•Place them on your registration marks to use as a guide for your paper
•Tape them down to your baseboard or glue them with rubber cement
Common Screen Printing Problems
Most problems occur in the filling of the screen- the flood stroke.
Filling the screen properly before printing insures an evenly inked print.
The angle of the squeegee, pressure applied by the printer, and materials used all affect the print. Change in the printer’s movement, as well as the angle or pressure of the squeegee blade may show up as variations in the print. Be consistent in your printing! The printer’s goal is to learn to judge when a screen has been properly filled in order to pull a clean print.
Outcome
Areas are not printing, often along the sides
Problem
Uneven pressure was placed on the squeegee or the squeegee was not held at the proper angle
Outcome
Marks smudged or ink bled
Problem
Screen is over flooded- make only one pass when filling the screen using the proper amount of ink
Outcome
Detail is lost
Problem
Screen is over flooded or ink has clogged the mesh
Outcome
Streaks or patchy marks
Problem
Screen is improperly flooded- there may not be enough ink on your screen
Outcome
Print is unevenly saturated particularly in large open areas
Problem
Uneven flooding- there maybe more ink in areas and less in others
Outcome
Lines or marks on the print
Problem
Chips or protrusions in the squeegee blade
From Basic PRINTMAKING Techniques by Bernard Toale
Screen Prints, Serigraphs, Silkscreen Prints
Silkscreen printing is basically a stenciling process. Simply stated, in screen printing, ink is transferred to the paper by being squeezed through a fine mesh (the screen), whereby the image is created by the use of stencils through which the ink does not pass. The screen consists of mesh stretched on a frame. A squeegee is used to force the ink through the exposed sections of screen.
Notes on Mesh
• The lower the mesh count the larger the open areas.
Larger open areas allow for more ink flow.
Use a lower mesh count for less delicate deigns.
• The higher the mesh count the finer the open areas between the crossing fibers.
Very fine mesh is needed for halftone
Monofilament Polyester (Yellow)
•195-230 Best for handmade stencils or painterly strokes
•230-305 For fine detail
•240-260 best for water-based ink
•260-305 is best for fine photo or computer generated imagery
Multifilament Polyester (White)
•Strength of fiber is denoted by x’s.
X= weakest
Xxx= strongest
•Average 12xx-14xx
•Textile 8xx-10xx
Tape
•Water-resistant tape on the frame prevents ink from leaking under the frame lumber and keeps the edges of your prints clean.
Frame size
•The screen should be approximately 3” larger in width from the inside and 6” in length than the printing area. Ex. An image which is 18”x 24” should be on a 21”x 30” frame.
Squeegees
•The squeegee should be 2” longer than the width of the printing area.
Types of squeegees:
•Rubber- generally gray or tan
*Polyurethane- generally clear or amber, sometimes green (recommended)
•Squeegee blades are shaped according to projects, do research if you plan doing something special otherwise a squared blade is good for general printing.
Scoop Coater
•The scoop coater is used to coat screen with screen filler after the drawing fluid has dried or to coat the screen with photo emulsion.
Inks
•Permanent Acrylic Ink – water-based ink that dries water-resistant. This type of ink must be washed out of screen immediately upon finishing printing or it will permanently adhere to the screen and ruin the mesh.
Additives
Extender Base- may be mixed with the acrylic ink to extend the pigment. A little will give you more ink to use without affecting the opacity too much, however if you use more than 50% base the ink becomes noticeably more translucent.
GOLDEN Silkscreen Medium- is a water-borne system designed to blend with acrylic paints for silk-screen application onto paper, wood and other suitable fine art materials. This product is designed to increase working time and prevent paint from drying in the screen too quickly.
GOLDEN Retarder- increases your “open” or work time by slowing the drying time.
Printing Tips
•Make sure there is a generous amount of ink on your screen.
•Flooding in one stroke evens out your Ink.
•The squeegee should be at a 45 degree angle.
•Print with an ample amount of pressure on your squeegee Keep your pressure even.
Making Multiple Color Separations
When printing multiple colors you need to think of each color as a separate layer and design accordingly.
• Create your image keeping in mind which color will go where. Remember that the results of silkscreen printing are often flat even colors so design your image accordingly.
• Identify the darkest color (often black) in the design.
• Use tracing paper, paper and a light table, or the computer to separate only the darkest color in your the design. This will be your "key" printer - the guide that all the other colors are keyed to. Black is often used to "trap" other colors - that is, outline them - and since it will be the last color printed, it will overlap anything it traps.
• Make a separation for each of the other colors in your design (for example, if yellow and red are your other two colors, you'll have three tracings: one for black, one for yellow and one for red). Place each of these separations over the black and make sure they match up (register) reasonably well. This is a color separation.
• Transfer each separation onto different silk screens, an isolated area on the same silk screen or do the process one by one. Do this by laying the separation on the screen and flipping the screen over so that you can see the tracing through the screen; trace the design onto the silk screen with a soft, dull pencil; then render, using drawing fluid and screen filler, screen filler, or photo emulsion. Each color will have its own stencil.
Tips
• These colors will be recombined later in the printing process. Keep your design simple for ease of printing and registration.
• The highlights of your design will be the white of your paper or fabric. In creating your design, don't overlook the opportunity to use these highlights to your advantage.
Stencil Techniques
SCREEN FILLER METHOD
Direct Block-out or "Negative Method"; drawn/painted areas do not print
The Screen Filler is used to block out areas that you do not wish to print. This allows the ink to be forced through the screen wherever the Screen Filler has not been applied.
Since Screen Filler is applied to all areas that are not to be printed, this is considered to be a "negative" method of printing. Your print will be the opposite of that which you created on your screen.
• Trace the first color of your design onto the screen with a soft pencil.
• Stir the Screen Filler until it is thoroughly mixed to a smooth consistency. Select an appropriate brush. This will be determined according to the type of line or texture to be produced. You can work on either the front or back of the screen. Be certain that the bottom of screen is elevated-not touching the table. Paint areas of the layout that you do not want to print. When all areas to be blocked out are covered with Screen Filler, flip the screen over and smooth out places the filler may have collected on the opposite side of the screen. Be careful during this smoothing out not to distort your work.
• Leave the screen to dry in a level position. Make sure nothing touches the areas covered with Screen Filler. Thorough drying is necessary. Overnight drying is recommended to assure best results.
• Check for pinholes in the blocked-out areas. You can do this by holding the screen up to a light. Fill any pinholes with screen filler and allow to dry completely. You are now ready to print.
• Trace the second color of your design onto the screen and repeat the steps.
DRAWING FLUID - SCREEN FILLER METHOD
Tusche-resist or " Positive Method”;drawn/painted areas print the ink color
Any area where you put drawing fluid will print as a positive - that is, ink will come through the open mesh during the printing process.
• Trace the first color of your design onto the screen or you may choose to paint freehanded with the fluid onto your screen.
• Select an appropriate brush. This will be determined by the type of line or texture to be produced. You can work on either side of the screen.
• Be certain that screen is elevated-not touching table. Paint the Drawing Fluid over those areas of your separation that you want to print. Leave the screen to dry in a level, flat position. Make sure nothing touches the areas covered with Drawing Fluid.
• After the Drawing Fluid is completely dry, open the Screen Filler and mix it thoroughly to a smooth consistency. Spoon it onto the screen fabric on the same side of the screen used for the application of Drawing Fluid.
• Use the squeegee or the plastic spreader to apply an evenly smooth coating of screen filler over the entire screen. One pass should be sufficient. Multiple passes of Screen Filler will dissolve the Drawing Fluid and prevent character washout.
• Place the screen to dry in a horizontal position making sure nothing touches the fabric. It is important that the Screen Filler dry completely.
• When the Screen Filler has thoroughly dried, spray cold water on both sides of the screen. DO NOT USE HOT WATER DURING THIS STAGE. Concentrate the spray on the areas where Drawing Fluid was applied. These areas will dissolve and the screen will become open at those points so that ink can flow through them.
• If some areas remain slightly blocked, scrub them lightly with a small stiff brush on both sides of the screen (an old toothbrush will do a good job). Allow your screen to dry in a level (horizontal) position, bottom-side up.
*Drying time may be accelerated by using a hair dryer or fan.
• After you rinse out the drawing fluid and let the screen dry, you can touch up or refine your drawing with screen filler.
Technical Notes:
1. Always wash acrylic ink out of screen immediately after you are finished printing.
2. Always tape the edges of the screen so that ink cannot get under the frame.
3. Drawing fluid must be dry before applying screen filler.
4. Screen filler must be dry before washing out areas where drawing fluid was used.
5. DO NOT use hot water when washing drawing fluid out of the screen. The hot water may also wash out the screen filler.
6. When you are finished with the image, rinse ink out of screen, then rinse drawing fluid and screen filler out. To clean screen filler, wash the screen with dish detergent (or Grease Lightning if necessary), water and a sponge, then let it sit wet for a few minutes and hose it down with the power washer. When you are finished, give it one last wipe with degreasing liquid, rinse that out and store your screen or place it in front of a fan if you’d like it to dry more quickly.
PHOTOGRAPHIC EMULSION METHOD
This is one of the most exciting methods of Screen Printing because it offers the widest range of possibilities. It makes possible the printing of fine line drawings, various hand and commercial lettering techniques, as well as photographic halftone positives.
All methods of photographic Screen Printing require three things:
• a screen prepared with a light-sensitive coating
• a film positive, or equal
• a light source that will enable you to transfer the opaque
images on your positive to the light sensitive screen you
have prepared.
• Step A--Mixing the photo emulsion
SPEEBALL DIAZO SYSTEM:
SB4558 Diazo Kit Follow the mixing instructions given on both containers. Store the sensitized emulsion in a cool and dark place. Shelf life for the sensitized emulsion is 4 weeks at 90 Degrees F, 8 weeks at 70 Degrees F and 4 months when refrigerated.
•Step B--Coating the screen
Coat the screen by first pouring the emulsion into the scoop coater. Rock the scoop coater back and forth slightly to move the emulsion towards the edge. Pull the scoop coater with emulsion upwards against the screen stopping at the top and catching any excess emulsion. Cover the entire screen. Work to achieve a continuous, even THIN coating on one side of the screen fabric. Many choose to coat both sides of the screen. At home if you do not have a scoop coater you can use a squeegee to spread the emulsion. Return any excess solution to your emulsion container.
•Step C--Drying the coated screen
In an area AWAY FROM LIGHT AND HEAT, set the screen against the wall to dry. Do not allow the wet emulsion to touch anything. Allow the screen to dry thoroughly. Once the sensitized screen is dry, it must remain in a darkened area until it is ready to be exposed. A fan in the dark area will greatly speed up the drying of the emulsion on the screen.
With the SPEEDBALL Bichromate System, the maximum allowable time between application of the sensitized emulsion to the screen and the exposure is 6 hours at room temperature. With the SPEEDBALL Diazo System, the maximum allowable time is eight weeks at room temperature.
• Step D--Preparing a positive
A "positive" is any opaque image (usually black), on any transparent or translucent surface. There are many ways you may choose to prepare them. The graphics must be opaque.
One way of producing positives is through copy machines that have the capability of reproducing very opaquely on film, vellum, tracing paper, etc. In order to satisfactorily produce a positive using a copy machine, the following conditions must be met:
. (1) Black and white line work-Must be opaque
. (2) Photographic print-Must have high contrast
. (3) Copy machine must have capability stated above. You must check this out in advance.
Another way of producing positives is through the computer. Scan your image into the computer and use a program such as Photoshop to separate colors. Your separations should be made into black and white images. To reproduce photographs you may wish to use the halftone filter in Photoshop. Some printers may offer halftone as a printing option.
A third option is to make a laser print or photocopy following the above guidelines on white laser or copy paper. After the image has been printed on the paper saturate the back of the paper (non-image side down) with vegetable oil. Exposure time may be slightly longer.
Photographic images can also be accurately screen-printed. However, because of the halftones (or continuous tones), which are in all photographs, a special type of "positive" must be prepared. This must be done by someone with photographic expertise and who has the necessary equipment. Essentially, this person will photographically transfer the halftones to Kodalith Ortho film. A dot patterned half-tone screen will be placed between the lens, and the ortho film. These "halftone" dots will be exposed to the film simultaneously with the photograph. The resulting "halftone" negative will then be converted by the photographer to a "halftone" positive. This is the same type of "conversion" that is made in the preparation of photographs for newspaper and magazine printing. The dot pattern breaks up the continuous tones into a half-tone interpretation that can be printed.
Fine art half-tone screen-printing involves a posterization process whereby a series of selected positives are produced through a process camera. With filters, the process camera can selectively identify specific colors in the original art. These are then, sequentially prepared for color registry. This is a highly technical procedure and should be attempted only by experienced printers.
• Step E-- Exposing
Before you remove the sensitized screen from the dark drying area, make sure everything you need to print with is on hand. Set up your exposure unit (lamp if you do this at home) and positives which can be fixed in place with transparent tape. It is better not to overlap positives. Once your "positives" are in place and against the fabric, you are ready to expose the screen.
Home exposing
To set up your "Light Station" place the screen on top of a piece of black paper and center it 12 inches directly below a 150W clear incandescent bulb or a BBA No.1 Photoflood (preferred) Bulb. Either should be fitted with a foil-type pie tin as a reflector.
The positive can be placed in contact with the coated (dry) screen with a heavy sheet of glass placed on top for pressure. Another method employs the use of a foam rubber cushion, which is cut to the inside, dimensions of the screen frame. The positive is placed in reverse (mirror image) on top of the underside of the screen.
SPEEDBALL SCREEN PRINTING SYSTEM
Recommended Exposure Chart
150 Watt Bulb, Clear Incandescent
Screen Size 150W Bulb Height Exposure Time
8" x10" 12 inches 45 minutes
10"x14” 12 inches 45 minutes
12"x18” 15 inches 1 hr. 14 minutes
16"x20” 17 inches 1 hr. 32 minutes
18"x20" 17 inches 1 hr. 32 minutes
BBA No. 1 Photoflood (250 Watt)
Screen Size Lamp Height Exposure Time
8" x 10” 12 inches 10 minutes
10"x14" 12 inches 10 minutes
12"x18" 15 inches 16 minutes
16"x2O" 17 inches 20 minutes
18"x2O" 17 inches 20 minutes
PLEASE NOTE: This chart has been prepared using an aluminum foil pie-plate reflector
More sophisticated light sources, reflectors and equipment can, of course, be used. However, as any variable is changed, you will have to adjust the exposure times and distances. This will require experimentation through the use of test strips or other light testing devices or procedures.
Turn on the light and note the time. Experiment with timing. If done at home expose according to time and distance indicated in chart. After exposure, remove positive and take screen to sink.
• Step F—Opening the image
Apply a forceful spray of water to both sides of the screen. DO NOT USE HOT WATER. Concentrate this spray on the light images. After a few minutes, these areas will become "open." Continue spraying until all unwanted emulsion is gone. Once you have completely washed the screen, let it dry thoroughly in a level flat position. Hold the dry frame to the light and check for pinholes. These can be covered with Speedball Screen Filler or pieces of masking/ block-out tape. If Screen Filler is used, let the screen dry again.
NOTE: Photo Emulsion should not be left in the screen indefinitely unless a permanent stencil is wanted. It should be washed out as soon as the run is completed.
Ruby Lith or Amber Lith
From the field of printmaking, ruby lith is thin, flexible, translucent, dark red material, used for masking areas of a light sensitive medium that shouldn't be exposed. It is slightly tacky on one side, and mostly stays in place on acetate or film or whatever. It comes in individual sheets stuck to a piece of acetate, or on a roll like tape. To use it, you usually use an x-acto knife to trace out whatever mask shape you want, then peel off the shape and put it wherever it's needed.
There are machines that use lasers to cut pieces of ruby lith very finely and in intricate shapes, but shops that can afford them have mostly gone digital nowadays. In fact, the use of ruby lith by any print shop is pretty archaic, since digital processing has become so cheap and common. This is too bad, as cutting and aligning a mask by hand is something of an art, or so I've been told.
Ruby Lith fun facts:
* Ruby lith is the reason that masks made in Photoshop are reddish, and referred to as rubies.
* The first microprocessors (and ICs in general) were designed using by cutting the conductor and transistor patterns in ruby lith, and then focusing them down in size with lenses to expose the doped silicon. This process is called photolithography.
* All of the artwork used in the OBEY GIANT project were designed by cutting ruby, even the lettering.
Registration
Multiple- Color printing
•Make sure you have separations made by drawing, tracing or computer printing
Each color in your print is a separate layer and therefore has its own stencil.
•Make sure your separations match up by layering them and viewing them on a light box.
•Transfer each separation one by one to your screen
Keep in mind color choice and layering. You may want to use your lightest separation first.
You will need:
•Sheet of Acetate or Mylar larger than your paper size
•Masking tape
•Proofing paper
•Editioning paper
•Screen and materials ready to print
•Cut your paper down to size (both proofing and editioning).
•Place screen in hinges and gather materials to print
•Tape the acetate to the table
The tape is a hinge for the Mylar.
•Make a print on the acetate
•Slide a piece of proofing paper under the acetate and position it correctly
•Raise the acetate and mark the position of your paper on the baseboard
•Print on the paper
Cardboard guides:
Optional; Figure out what works for you. This will give you something to butt your paper up against.
•Cut 1” x 2” cardboard or mat board strips
•Place them on your registration marks to use as a guide for your paper
•Tape them down to your baseboard or glue them with rubber cement
Common Screen Printing Problems
Most problems occur in the filling of the screen- the flood stroke.
Filling the screen properly before printing insures an evenly inked print.
The angle of the squeegee, pressure applied by the printer, and materials used all affect the print. Change in the printer’s movement, as well as the angle or pressure of the squeegee blade may show up as variations in the print. Be consistent in your printing! The printer’s goal is to learn to judge when a screen has been properly filled in order to pull a clean print.
Outcome
Areas are not printing, often along the sides
Problem
Uneven pressure was placed on the squeegee or the squeegee was not held at the proper angle
Outcome
Marks smudged or ink bled
Problem
Screen is over flooded- make only one pass when filling the screen using the proper amount of ink
Outcome
Detail is lost
Problem
Screen is over flooded or ink has clogged the mesh
Outcome
Streaks or patchy marks
Problem
Screen is improperly flooded- there may not be enough ink on your screen
Outcome
Print is unevenly saturated particularly in large open areas
Problem
Uneven flooding- there maybe more ink in areas and less in others
Outcome
Lines or marks on the print
Problem
Chips or protrusions in the squeegee blade
Planographic
Planographic Process
Lithography, using stone or metal plates
In Lithography the image is drawn with a greasy pencil on the flat surface of the plate, which is then wet before inking. The drawn image retains the oil-based ink, which is repelled from the wet areas, and can then be printed on the paper.
Paper to Paper
Xerox Transfer
Lithography, using stone or metal plates
In Lithography the image is drawn with a greasy pencil on the flat surface of the plate, which is then wet before inking. The drawn image retains the oil-based ink, which is repelled from the wet areas, and can then be printed on the paper.
Paper to Paper
Xerox Transfer
- Set the press tight
- Place the paper on the press bed
- Saturate the entire paper with wintergreen oil
- Place a photo copy or laser print face down and saturate the entire back with wintergreen oil
- Cover the papers with newsprint as you would normally do (pack it in tight with multiple sheets of newsprint)
- Place the blankets down and run the press
- Peel corner up and check the transfer. If it does not look dark enough try to tighten the pressure and run it through again
Printmakers and Articles
Artists
Kathe Kollwitz
Kathe Kollwitz Museum
Spaightwood Galleries Exhibit 2007
“The Art that Hitler Hated: Kathe Kollwitz and German Expressionist Printmaking"
http://www.spaightwoodgalleries.com/Pages/Exhibitions_German_Exp.html
Wharton Esherick
Woodcuts
http://www.modernegallery.com/pages/esherick/esherick_woodcuts.html
Book Illustrations
http://www.avramdavidson.org/esherick.htm
Helen Frankenthaler
Etching
http://www.gregkucera.com/framkenthaler.htm
Andy Warhol
Mug Shots Silkscreen:
http://www.portrait.pulitzerarts.org/south-main-gallery/warhol/
http://www.carnegiemuseum.org/cmag/bk_issue/1998/sepoct/feat6.htm
Kathe Kollwitz
Kathe Kollwitz Museum
Spaightwood Galleries Exhibit 2007
“The Art that Hitler Hated: Kathe Kollwitz and German Expressionist Printmaking"
http://www.spaightwoodgalleries.com/Pages/Exhibitions_German_Exp.html
Wharton Esherick
Woodcuts
http://www.modernegallery.com/pages/esherick/esherick_woodcuts.html
Book Illustrations
http://www.avramdavidson.org/esherick.htm
Helen Frankenthaler
Etching
http://www.gregkucera.com/framkenthaler.htm
Andy Warhol
Mug Shots Silkscreen:
http://www.portrait.pulitzerarts.org/south-main-gallery/warhol/
http://www.carnegiemuseum.org/cmag/bk_issue/1998/sepoct/feat6.htm
Printmaking Resourceshttp://www.blogger.com/img/blank.gif
Printmaking Resources
Centers
Philadelphia:
Philigrafika
http://www.philagrafika.org/
The Print Center
http://www.printcenter.org/
The Fabric Workshop and Museum
http://www.fabricworkshop.org/
Brandywine Workshop
http://www.brandywineworkshop.com/
The Philadelphia Print Shop, LTD
http://www.philaprintshop.com/
New York:
Pace Editions
http://www.paceprints.com/
Supply Sources
Daniel Smith Inc.
4150 First Avenue South
P.O. Box 84268
Seattle, Washington 98124-5568
Phone 1-800-238-4065
http://www.danielsmith.com/
Dick Blick Art Materials
Center City
1330 Chestnut Street
Philadelphia, PA 19107
(215) 545-3214
Blick Art Materials
South Mall
3152 Lehigh Street
Allentown, PA 18103
(610) 791-7576
Blick Art Materials
1-5 Bond Street
New York, NY 10012
Phone (212) 533-2444
Fax (212) 677-6955
P.O. Box 1267
Galesburg, IL 61402-1267
Phone (800) 828-4548
Fax (800) 621-8293
info@dickblick.com
http://www.dickblick.com/
E. C. Lyons Company
3646 White Plains Rd.
Bronx, New York 10467
Phone 718 881-7270
Fax 718-515-7790
sales@eclyons.com
http://www.eclyons.com/
Golden Artist Colors, Inc.
188 Bell Road
New Berlin, NY 13411-9527 USA
Toll Free: 800-959-6543
Fax: 607-847-6767
gactech@goldenpaints.com
www.goldenpaints.com
Graphic Chemical & Ink Co.
728 North Yale Avenue
Villa Park, IL 60181 USA
Phone 1-800-465-7382
Fax 630-832-6064
sales@graphicchemical.net
http://www.graphicchemical.com/index.php
McClain’s Printmaking Supplies
15685 SW 116th Ave PMB 20
King City, OR 97224-2695
Phone 503-641-3555
Fax 503-641-3591
Orders 800-832-4264
mail@imcclains.com
Request a catalog:
catalog@imcclains.com
http://www.imcclains.com/
Mt. Pocono Screen Supply
Pocono Mountains, PA
1-888-637-4835
www.poconoscreen.com
New York Central
62 Third Avenue (11th Street)
New York, NY 10003
Phone 212-473-7705
Orders 1-800-950-6111
Fax 212-475-2513
http://www.nycentralart.com/
Pearl Paint
417 South Street, Philadelphia
PA 19147
Phone 215-238-1900
Manhattan
308 Canal Street,
New York, NY 10013
Phone 212-431-7932
http://www.pearlpaint.com/
Rembrandt Graphic Arts
The Cane Farm
Rosemont, New Jersey 08556
Phone (609) 397-0068
http://www.rembrandtgraphicarts.com/
Renaissance Graphic Arts, Inc.
69 Steamwhistle Drive
Ivyland, PA 18974
Ph. 1-888-833-3398
Fax 1-215-357-5258
http://www.printmaking-materials.com/
Standard Silkscreen Supply
121 Varick Street
New York, New York
(212) 627-2727
Toll Free: 800-221-2697
info@standardscreen.com
http://www.standardscreen.com/index.cfm
Takach Press Corporation
Office:
3207 Morningside NE
Albuquerque, NM USA 87110
Phone 1-800-248-3460
Fax 505-888-6988
Paper Sales 877-611-7197
info@takachpress.com
www.takachpress.com
TW Graphics
http://www.twgraphics.com/SWF/Ink/Water-main/water-base-ink.htm
Utrecht
301 South Broad St.
Philadelphia, PA 19107
Phone (215) 546-7798
2020 Chestnut Street
Philadelphia, PA 19103
Phone 215-563-5600
237 W 23rd Street
Between 7th and 8th Aves.
New York City, NY 10011
212-675-8699
http://www.utrechtart.com/
Victory Factory, Inc.
184-10 Jamaica Ave.
Hollis, NY 11423
(718) 454-7640
1-800-255-5335
mail@victoryfactory.com
http://www.victoryfactory.com/index.htm
References
Adam, Robert & Robertson Carol. Screenprinting: The Complete Water-Based System. NY, NY: Thames and Hudson, Inc., 2005.
Biegeleisen, J. I. & Cohn, Max Arthur. Silk Screen Techniques. NY, NY: Dover Publications, Inc., 1958.
Bodman, Sarah. Creating Artists' Books (Printmaking Handbooks). NY, NY: Watson-Guptill Publications, 2005.
Eichenberg, Fritz. The Art of the Print: Masterpieces, History, Techniques. NY, NY: Harry N. Abrams, Inc., 1976.
Gale, Colin & Petterson, Melvyn. The Instant Printmaker: Simple Printing Methods to Try at Home. NY, NY: Watson-Guptill Publications, 2003.
Muir, Pauline & Welden, Dan. Printmaking in the Sun. NY,NY: Watson-Guptill Publication, 2001.
Romano, Claire, Ross, John & Ross, Tim. The Complete Printmaker. NY, NY: The Free Press, 1990.
Saff, Donald & Sacilotto, Deli. Printmaking: History and Process. NY, NY: Holt Reinhardt and Winston, 1988.
Wye, Deborah. Thinking Print-Books to Billboards, 1980-95. NY, NY: The Museum of Modern Art, 1996.
Centers
Philadelphia:
Philigrafika
http://www.philagrafika.org/
The Print Center
http://www.printcenter.org/
The Fabric Workshop and Museum
http://www.fabricworkshop.org/
Brandywine Workshop
http://www.brandywineworkshop.com/
The Philadelphia Print Shop, LTD
http://www.philaprintshop.com/
New York:
Pace Editions
http://www.paceprints.com/
Supply Sources
Daniel Smith Inc.
4150 First Avenue South
P.O. Box 84268
Seattle, Washington 98124-5568
Phone 1-800-238-4065
http://www.danielsmith.com/
Dick Blick Art Materials
Center City
1330 Chestnut Street
Philadelphia, PA 19107
(215) 545-3214
Blick Art Materials
South Mall
3152 Lehigh Street
Allentown, PA 18103
(610) 791-7576
Blick Art Materials
1-5 Bond Street
New York, NY 10012
Phone (212) 533-2444
Fax (212) 677-6955
P.O. Box 1267
Galesburg, IL 61402-1267
Phone (800) 828-4548
Fax (800) 621-8293
info@dickblick.com
http://www.dickblick.com/
E. C. Lyons Company
3646 White Plains Rd.
Bronx, New York 10467
Phone 718 881-7270
Fax 718-515-7790
sales@eclyons.com
http://www.eclyons.com/
Golden Artist Colors, Inc.
188 Bell Road
New Berlin, NY 13411-9527 USA
Toll Free: 800-959-6543
Fax: 607-847-6767
gactech@goldenpaints.com
www.goldenpaints.com
Graphic Chemical & Ink Co.
728 North Yale Avenue
Villa Park, IL 60181 USA
Phone 1-800-465-7382
Fax 630-832-6064
sales@graphicchemical.net
http://www.graphicchemical.com/index.php
McClain’s Printmaking Supplies
15685 SW 116th Ave PMB 20
King City, OR 97224-2695
Phone 503-641-3555
Fax 503-641-3591
Orders 800-832-4264
mail@imcclains.com
Request a catalog:
catalog@imcclains.com
http://www.imcclains.com/
Mt. Pocono Screen Supply
Pocono Mountains, PA
1-888-637-4835
www.poconoscreen.com
New York Central
62 Third Avenue (11th Street)
New York, NY 10003
Phone 212-473-7705
Orders 1-800-950-6111
Fax 212-475-2513
http://www.nycentralart.com/
Pearl Paint
417 South Street, Philadelphia
PA 19147
Phone 215-238-1900
Manhattan
308 Canal Street,
New York, NY 10013
Phone 212-431-7932
http://www.pearlpaint.com/
Rembrandt Graphic Arts
The Cane Farm
Rosemont, New Jersey 08556
Phone (609) 397-0068
http://www.rembrandtgraphicarts.com/
Renaissance Graphic Arts, Inc.
69 Steamwhistle Drive
Ivyland, PA 18974
Ph. 1-888-833-3398
Fax 1-215-357-5258
http://www.printmaking-materials.com/
Standard Silkscreen Supply
121 Varick Street
New York, New York
(212) 627-2727
Toll Free: 800-221-2697
info@standardscreen.com
http://www.standardscreen.com/index.cfm
Takach Press Corporation
Office:
3207 Morningside NE
Albuquerque, NM USA 87110
Phone 1-800-248-3460
Fax 505-888-6988
Paper Sales 877-611-7197
info@takachpress.com
www.takachpress.com
TW Graphics
http://www.twgraphics.com/SWF/Ink/Water-main/water-base-ink.htm
Utrecht
301 South Broad St.
Philadelphia, PA 19107
Phone (215) 546-7798
2020 Chestnut Street
Philadelphia, PA 19103
Phone 215-563-5600
237 W 23rd Street
Between 7th and 8th Aves.
New York City, NY 10011
212-675-8699
http://www.utrechtart.com/
Victory Factory, Inc.
184-10 Jamaica Ave.
Hollis, NY 11423
(718) 454-7640
1-800-255-5335
mail@victoryfactory.com
http://www.victoryfactory.com/index.htm
References
Adam, Robert & Robertson Carol. Screenprinting: The Complete Water-Based System. NY, NY: Thames and Hudson, Inc., 2005.
Biegeleisen, J. I. & Cohn, Max Arthur. Silk Screen Techniques. NY, NY: Dover Publications, Inc., 1958.
Bodman, Sarah. Creating Artists' Books (Printmaking Handbooks). NY, NY: Watson-Guptill Publications, 2005.
Eichenberg, Fritz. The Art of the Print: Masterpieces, History, Techniques. NY, NY: Harry N. Abrams, Inc., 1976.
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