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Etching
Etching
A print is created when one surface comes in contact with another surface, leaving a mark or impression. Patterns, lines or textures produced by an artist on surf aces such as wood, lino, metal or stone are inked or painted and then transferred to another suitable surface such as paper, cardboard or fabric. This process of making artworks usually allows images to be multiplied many times
The most common methods of printmaking include relief printing, for example, wood or lino prints; intaglio printing, for example, etchings and engravings. Another exciting method of printmaking, monoprinting, usually allows only one good quality print to be taken.
We will be creating an INTAGLIO print in the form of a cardboard plate drypoint etching watch this video which outlines the process of etching
Process.
Process.
You will use one of your humanimal collages as your design for your print.
Your collage should fill most of an A4 page if not you will need to photocopy it up larger [or smaller if A3]. It needs to be between and A4 and almost A3 size [you will print on A3 paper but need to leave some breathing room around your print -ideally a 5cm border]
Using tracing paper, turn your collage copy into a line drawing. You can add pattern and details in but no value/shading at this point.
Assemble your cardboard printing plate from pantry packets. The uneven and random edges are desired - so don't remove them. You can tape smaller pieces together as well for interesting shapes [they don't have to be rectangle]
Transfer your line drawing to the glossy cardboard side with carbon paper. [if the card is dark - you can use white oil pastel on the back of the tracing paper to transfer]
using an etching needle or other sharp point [knitting needles/nails/pins work well] scratch into all of your lines on the card. fine point ball point pens can also be used, just make sure you are working on a hard surface and press quite hard. What you are aiming to achieve is a dent or scratch in the paper that ink will sit in.
Adding areas of pattern and value. at this point you can start to think about areas of your print that you would like to be darker [hold more ink]. To achieve this you can use cross hatching marks with your etching needle OR you can remove sections of the gloss surface by peeling off the top layer - make sure you have made an incision all the way around the shape of area you are removing. Other ways to add value os sandpaper to rough up the surface or patterning by hitting into areas [circles can be made by ends of brushes or sticks.
Background - ideally this will be mostly left alone. However, it can add visual interest to"grunge" it up. You can tear strips of masking tape and place in the background, you can put the plate face down on a rough surface [concrete] and stomp on it! remove sections of gloss etc. You need to consider the image overall and balance the amount of black within the creature and the background. student examples are shown below
PRINTING
PRINTING
A successful print relies on being organised and taking time with the process of cleaning the plate. I recommend you work with a buddy who will keep their hands clean to handle the paper.
Wet the paper and place between the plastic sheet to soak in
Scrape ink across the entire plate [only a small amount] using a cardboard scraper.
Remove excess ink with a clean card edge. Make it easier on yourself and try and remove as much as you can at this point with the scraper.
Use newsprint to remove surface ink by laying it flat on the plate and rubbing your hand across it. repeat 3-4 times with a clean"ish" sheet each time [PUT STRAIGHT INTO BIN]
“polish’’ the plate with phonebook paper [focus on creature], you can leave some darker in the background *ALWAYS USE FLAT PAPER TO REMOVE INK – NOT SCRUNCHED this part will take the longest and is the messiest part!
Call your buddy to prepare the damp paper - it needs to be blotted to ensure all surface moisture is removed [use a towel]
REGISTRATION OF PLATE - Align your plate in the middle top section of the template on the press bed [there should be slightly more space at the bottom, but top and two sides equal space from edge]
Align damp paper over top using template as a placement guide to keep straight
Roll through printer and remove. Dry on drying rack and Start at number 1 again. DO NOT CLEAN PLATE BETWEEN PRINTS.
You should aim to achieve at least 2-3 GOOD prints.
LABELING YOUR PRINTS [also called editioning]
LABELING YOUR PRINTS [also called editioning]
Refer to the image on how to correctly label your prints. There are correct conventions you MUST follow -
Always sign your prints using a PENCIL not a pen
Sign your name, initial or monogram on your prints below the bottom edge of the plate on the right-hand side (along with date if desired)
Mark the edition number or print type below the bottom edge of the plate on the left hand side
Add a title if desired in the middle between the signature and the edition number. Titles are often written in inverted commas - ‘Title’
If the print is a ‘Bleed Print’ (the printed area is larger than the actual paper being printed on) use the same conventions but write either along the bottom of the image or along the bottom edge of the reverse side of the paper.
EXTENSION - CHINE COLLE
EXTENSION - CHINE COLLE
Chine Collé is a technique that allows you to add colour to your prints without making another block. Using Chine Collé you are able to print on much finer,
more delicate papers which are bonded onto a more sturdy paper during the printing process. Japanese papers are often used but you can try tissue papers,
maps, sheet music, even fabric – anything delicate enough to be printed onto.
for example, the image here the black is the print, and the yellow and green are circles of tissue paper which have been placed between the block and paper before running through the press.
PROCESS
Cut pieces of thin papers (we used tissue paper) into shapes to fit your block.
Prepare your print as per steps 1-5 above.
here you have to work fast -To prepare your papers, mix a little Rice Paste with water to make a thick syrupy texture. You only need a very small amount. Paint the glue in a thin layer all over the back of your papers. Or use spray adhesive [do this away from your printing area]
Place your papers glue side up (this is essential!) on your inked up plate. This part can be very fiddly so it can help to use tweezers or cocktail sticks to place the wet papers down.
Lay your printing paper on top and put through the press (or print by hand with a baren). Your tissue papers should have bonded onto your printing paper with your print over the top!
photograph your work and turn in on google classroom for marking
photograph your work and turn in on google classroom for marking
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