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Category: Summer Projects

Learning about Print Techniques

Relief
Relief printing is a generic term used to describe the process of printing from a raised surface where the non-image areas have been cut away. Wood and linoleum are traditional matrices used for relief printing. 

  • Woodcut:
    Woodcut is one of the oldest and simplest forms of printmaking. Various implements (both hand tools and power tools) can be used to cut the image into a block of wood. Paper is placed over the inked block and rubbed by hand or passed through a press to transfer the ink from block to paper to create the image.
    Woodcut prints and illustrations were first popularized in China in the 9th century and spread to Europe in the 14th century where they became a popular medium for the mass distribution of religious and instructive imagery. The woodcut was developed to an exceptional level of artistic achievement in Japan during the 17th-18th centuries, the ukiyo-e period.

(Woodcut by Tugboat Printshop)

  • Linocut:
    The linoblock consists of a layer of linoleum, usually mounted on a block of wood. This soft material is easily carved using knives and gouges. The image is then printed as with a woodcut. Linocuts were popularized by Pablo Picasso.

(Linocut by Amanda Coville)

  • Intaglio:
    The intaglio printmaking method is characterized by an image being cut into the surface of a plate. Traditionally the matrix is copper, zinc or other metal and the cutting is made with sharp hand tools or by using acid. When ink is applied to the plate, it is held in the incised image areas and wiped from the surface, then printed on a press on dampened paper.
  • Engraving:
    For this technique, a metal plate is incised with a tool called a burin. Great skill is required to manipulate the burin as it is pushed at different angles and degrees of pressure to produce a characteristic thin to thick line. Engraving techniques were used by the Greeks, Romans and Etruscans for decorating objects but were not used for printmaking until the mid 15th century in Germany. Engraved images are comprised of a multitude of crisp, fine lines. Shading is traditionally rendered by multiple parallel lines or cross-hatching.
  • Drypoint:
    As with engraving, this is a process in which marks are made on a plate using a sharp, pointed instrument. Unlike engraving, in which small amounts of metal are completely removed as the lines are incised, drypoint is characterized by the curl of displaced metal, called the burr, which forms as the line is cut. When inked, the burr creates a distinctive velvety appearance. This technique is usually done on soft copper plates. As the edition is printed, the burr becomes flattened and less distinct.
  • Mezzotint:
    This is a very beautiful but time-consuming technique, which was most popular in the 18th and 19th centuries for portraiture and reproducing other works of art. In creating a mezzotint, first the entire metal plate is roughened by marking fine lines into the plate in all directions with a rocker (If printed at this stage, the entire paper would be black). Tones are created by burnishing or scraping into the plate, working from black back to middle values and highlights thus allowing the print to have continuous tonal range.
  • Etching:
    This process uses acid to bite an image into a metal plate that is coated with an acid-resistant ground. A sharp needle is used to scratch the image through the ground, exposing the metal. The plate is then immersed in an acid bath where the drawn marks are etched. The characteristics of the marks produced depend on the tool used to draw the image, the type of ground coating the plate and the length of time the plate is etched in the acid bath. The etching processes are the most versatile of the intaglio techniques and are often used in combinations.
  • Aquatint:
    Aquatint is an etching method introduced in the mid-17th Century to create a more subtle tonal range than could be achieved with line etching techniques. Powdered rosin is applied and heated onto a metal plate; the metal that remains exposed around the melted drops of rosin is bitten in an acid bath, creating a pitted, grainy surface. These pits hold ink and print as areas of tone. The longer the plate is left in the acid, the deeper the “bite” and darker it will print. Shapes are defined by painting on an acid-resistant “stop-out” to prevent surrounding areas from being bitten. A plate may be bitten several times for a range of tones.
  • Spitbite Aquatint:
    An intaglio method of painting strong acid directly onto the aquatint ground of an etching plate. Depending on the amount of time the acid is left on the plate, light to dark tones can be achieved. To control the acid application, saliva, or gum arabic can be used. Traditionally a clean brush was coated with saliva, dipped into acid and brushed onto the ground, hence the term “spitbite”.
  • Photogravure:
    A photographic technique used with aquatint. The metal plate is heated and dusted with a fine rosin for an aquatint ground. In a darkroom, the image is exposed from a photo positive transparency onto a sensitized gravure carbon tissue or film. This image, in turn, is transferred to the metal plate. The plate is bathed in warm water, causing the unexposed emulsion on the carbon print to be washed away, leaving the image in relief. Ferric chloride is then applied to the plate to eat away the copper in proportion to the highlights and shadows of the gelatin relief. The finished plate is printed by hand by usual intaglio methods. This process has great fidelity to the tonal range of the original photograph.
    Direct gravure is a related process where the positive transparency is hand drawn rather than using a photograph.
  • Lithography:
    The name lithography comes from the Greek words lithos meaning ‘stone’ and graphein ‘to write.’ Lithography is a chemical process invented in the late 18th century and based on the antipathy of grease and water. The image is drawn on a smooth stone or plate using greasy pencils, crayons, tusche, lacquer, or synthetic materials, or sometimes by means of a photochemical or transfer process. After the image is drawn and processed with a mild etching solution, the stone or plate is dampened and ink is applied with a roller. The greasy drawn image repels the water and holds the oily ink while the rest of the stone’s surface does the opposite. Printing is accomplished in a press similar to that used in intaglio processes.
  • Stencil:
    A process of printing through an opening in a material or a cutout design.
  • Screenprint:
    A stencil is adhered to a material (now synthetic nylon is used instead of silk) stretched tightly over a frame. The image areas are open fabric through which ink or paint is forced with a squeegee. Screenprints can be made onto almost any material.

(Screenprint by Nicola Goldie)

  • Pochoir:
    A direct method for hand coloring through a stencil. The stencil itself is usually knife-cut from thin-coated paper, paperboard, plastic, or metal. A stencil and stencil-brush may be used to make multicolor prints or to add color passages to a print.
  • Monoprint:
    The key characteristic of a monoprint or monotype is that no two prints are identical, though many of the same elements may be present. All or part of a monoprint is created from a matrix, etched plate, woodblock or such, whereas a monotype image is painted directly onto a smooth unaltered plate and then transferred to paper in a press. These prints are sometimes hand-colored after they are printed.

(Monoprint by Colleen Parker)

  • Digital Prints:
    Digital prints refer to those images generated with the aid of a computer. The computer file is sent to a digital printer, such as an Epson, and printed on paper using pigment-based archival inks. Digital files may also be used to scribe an image onto a matrix using a plotter and to cut stencils for traditional print processes.
  • Collagraph:
    A print matrix can be made from almost any assembly of materials, collaged into an image and printed either as a relief print or intaglio. Surfaces may also be textured with acrylic mediums. This technique is referred to as a Collagraph.

Google Street Art Project

https://streetart.withgoogle.com/en/#home

Today I came across the Google Street Art Project and I would just like to comment on how brilliant this platform is for the Art community, its not necessarily my chosen field but I do love street art and the organic attributes of it.

Google make it so easy to find different street artist and navigate through all the artwork by using a handful of simple google programs such as google maps, youtube, street view etc.

 

More Print Making

First attempt at Lino Printing

Print Making

I decided I need to start doing some print making, even if it was just little samples using things I found around my house and garden of course.
After collecting a few plants and flowers I thought had interesting textures and would make a good print I got going with printing!

Here are some samples of what I used and the end products, still in early stages and not everything came out as well as I thought it would but its a start.

Day out… Getting inspired by nature!

Theres nothing I enjoy more than going out and capturing wildlife, flowers make such beautiful imagery and I find them to be great inspiration for drawings.
I love capturing the bright, organic colours that flowers behold. Here are some of the images I captured on a day out at Bents garden centre, the plants and flowers gave me some great flora and fauna ideas for future prints.

 

Inspiration – Natalie Spencer

Natalie Spencer specialises in surface pattern and textile crafts, she also exhibited at the New Designers in London and walked away with the Wilkinson award for the ‘most commercial surface design.’

 “I love pattern and colour, and often like to work with abstract/ quirky imagery.”

Natalie’s work made an impression on me straight away, I love the colour combinations and how beautiful the collations or circles just make this unique pattern. This project was based around science and the microscopic imagery of cells, the organic feel of this work is just breath taking, I have never seen any artwork that is similar to these pattern prints.

Most textile and surface pattern designers use flora and fauna or botanical imagery in their work and somehow Natalie has reinvented that by using the cells of plants, wonderful idea!

Inspiration – Louise Taylor

Louise Taylor is infact a past graduate of Leeds College of Art, she is a Textile and Surface designer that also features her work around Florals and specialises in scarf designs. Her work has the ‘English Rose’ feel to it and gives off a vintage vibe.

“The intention is to create a collection of beautiful, original pieces, made in the uk, that are precious and designed to be treasured.”

Louise has kept the old school vintage floral work alive in her designs, although it has that traditional 1940’s housewife vibe she still manages to keep her work up to date with printing her designs onto scarfs. All her work is hand painted with watercolour from hand drawn beautiful designs inspired by vintage flora of course, she then adapts her designs using software such as photoshop.

These beautiful traditional designs are so dainty and intricate that you can not help but fall inlove with them, if your a fan of vintage textiles used in the modern day then Louise designs are perfect.

All Louise’s products are found on her website: http://www.louisetaylordesigns.co.uk/

 

 

I found it really inspiring to find a past student from my university on Business Boom Collective, personally seeing a graduate from my university being commended gave me an extra push to try my best at what I do and hopefully someday i’ll be commended for my work on BB collective too.

Inspiration – Marcella Wylie

Marcella Wylie a Scottish illustrator and textile designer based in Glasgow, with her work being mainly flower based, flora and fauna inspired. Her illustrations are a combination of vibrantly coloured inks and daintily painted forms of nature.

“I enjoy celebrating the exquisite beauty and extraordinary diversity of nature, its shapes and forms as well as its bold and sometimes unexpected colour.” 

 

Marcella manages to capture the essence of the natural beauty of nature within her illustrations and prints, I love the free feel of the splattered ink and hand drawn flowers clearly showing the pencil lines. It gives the prints that broken down factor of quality hand made images.

I also think its great how she can adapt her prints to work on any type of platform, for instance; an iphone case. This is what makes her work so unique and although she makes her prints with a old school ethic and style, she shows how easy it is to modernise and update a piece of artwork to fit in with the business world of today.

Here are some images of the products you’ll find on Marcella’s website: http://www.marcellawylie.com

 

Discovering… ‘Business Boom Collective’

logo

I first came across the ‘Business Boom Collective’ when searching for illustration, print making and textile inspiration. The reason BB collective stood out to me was because I seen they were promoting a Leeds College of Art past graduate and therefor I wanted to find out more!

The Business Boom Collective is a young creatives network, a place to discover up-and-coming talented students, graduates and freelance creatives from the UK and beyond. They collaborate with many universities and colleges keeping up to date with the best of the UK’s talented young creatives.
It is the perfect online platform to efficiently find the brightest individuals linked to the worlds of fashion, photography, art, design and more.

BB collective are a great source of research for me and i’m very happy that I came across this online network, they contain the perfect about of information on the artist as well as using just enough images to get across the artist’s style of work. Great find!