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Basic Printmaking Partnership Options

Monoprinting

The term MONOPRINT describes a print that can only be printed once in its original state, unlike with other forms of printmaking. This technique is also the most painterly of any other printmaking process. Students use ink to draw or paint an image onto a smooth surface such as Plexiglas, a metal plate or cardboard coated with varnish. We then lay a dampened piece of paper on top of the plate and run both through a press to create a unique, one of a kind print. Students may also choose to cut and apply stencils to their inked plate to create a design.

Running the monoprint plate through the press one additional time can create a “ghost”, transferring a faint image. This image can then be printed over again with a fully inked plate to create different textures and ink variations. Techniques and concepts learned include:

• Working on additive and subtractive inking methods
• Learning about positive and negative space
• Color mixing
• Using rollers, brushes, and other tools to create a composition on a plate
• How to safely and successfully print using the etching press

Drypoint Intaglio

INTAGLIO (pronounced en/TAHL/yoh) is an Italian word that means to carve or cut into. INTAGLIO describes many different processes using a scratched, cut or etched metal or plastic plate. Working on zinc plates, students will use a stylus to create line drawings in the metal. Students ink the incised lines and recessed textures of the plate, and wipe the smooth plate surface clean. We then place a dampened piece of paper on top of the plate and run it through an etching press, which uses extreme pressure to force the paper into the crevices. Concepts learned during this project include:

• How to safely work on metal plates with etching tools
• Composition using shape and line
• How to create values with line and texture
• How to successfully ink and wipe a plate
• How to safely and successfully print using an etching press

Relief Printing

RELIEF is the oldest form of printmaking. In relief classes students use a sharp tool to carve away areas of a block made out of an easy to carve rubber material called Soft Kut. The raised surface of the block, or the parts not carved away is inked and print dark on the paper. The carved lines do not hold ink so they appear white on the page. The printed lines of a RELIEF print are often bold and the use of POSITIVE and NEGATIVE space is very important when composing the design. Ink is applied to the block after it is carved. A student uses a BRAYER or a roller to apply a thin, even coating of ink to the block. The image is transferred onto the paper by rubbing the back of the paper with a barren.

• Concepts learned during this project include:
• Uses positive and negative space
• How to use block cutting tools successfully and safely
• Using rollers to ink block
• Transferring the image onto paper by hand-burnishing
• Color theory through color mixing
• Composition

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Special Project Options

Collagraph Process

A COLLAGRAPH is a print made from a collage of various textural materials glued together on a cardboard, matte board, tag board, metal, or hardboard plate. A collagraph plate can be printed as an intaglio plate, a relief plate, or as a combination of intaglio and relief, usually on an etching press. The plate can be inked by both intaglio and relief methods, with rollers used for inking raised surfaces and conventional intaglio processes used for inking and wiping the recessed lines and areas. An inkless impression of the plate can also be pulled for embossed effects.

Working on cardboard, mat board, or tag board plates as a base, students will “build” textural surfaces by collaging various found and created materials. The collagraph plates are then sealed to protect the materials from the ink and allowed to dry. Once dry the plates will be inked in both the relief and intaglio styles and printed by hand and on the etching press. Discussions on how collage, texture, and printmaking processes work together will occur. Concepts learned during this project include:

• How to use additive methods in printmaking
• Experience how collage and printmaking can be used together
• Experiment with different textural materials
• Learn how to build-up surfaces to create varying effects
• Learn the difference between various inking and non-inking techniques
• Color theory and color mixing
• Composition

Reduction Relief Block Printing

REDUCTION RELIEF BLOCK PRINTING is a method to achieve a multicolor print on a single wood or linoleum block through a process of elimination. The same block is cut and then printed in a series of stages, one for each color used in the print. Although this is the most commonly used method for color printing, it takes planning and visualization to produce a quality print. Because the image area is altered or removed after each color is printed, a clear idea how to proceed toward the final print image is essential.

Students will create a simple drawn image utilizing three different image steps with three different corresponding colors. The colors of the print will be planned simultaneously with the design before the actual carving of the block begins. We do this because once the image block has information cut away there is no going back. Student will begin the process by printing an untouched linoleum block for the background color. An edition of 4-5 images will be printed so the student will have room for error. Students will then remove information to print the second color over the first color on each print. Students will repeat this step for the third and last color. Concepts learned during this project include:

• Uses positive and negative space
• How to use block cutting tools successfully and safely
• Using brayers to apply ink to a block
• Transferring the image onto paper by hand printing with a barren
• Color theory through color mixing
• How to build a composition through layers of images and color
• How to print colors in succession
• How to register different layers of color
• How to edition a print

Large Format Monoprint

This one impression print can be made easily, and quickly, but then taken one step further. Working on clear Plexiglas plates, students will use ink to draw or paint onto the smooth surface using tools such as rollers, brushes, palette knives, swabs, and cloth. A variety of papers and images can be collaged onto their monotype, creating an even more layered print. When the plate is ready the student will lay a damp piece of paper on top of the plate and run both through the press. Examples of prints from Highpoint’s collection involving this chine collé technique will be shown. Techniques and concepts learned during this process include:

• Chine Collé technique
• Working on additive and subtractive inking
• Learning about positive and negative space
• Color mixing
• Using rollers, brushes, and other tools to create a composition on a plate
• How to safely and successfully print using the etching press

Screenprinting

SCREENPRINT: Screenprinting uses a stencil method to create images. First the artist must create a screen by tightly stretching and attaching a finely woven fabric, usually a monofilament polyester, to a sturdy wood or metal frame. Then, the artist uses a material such as glue, paper, shellac, film stencils, or photographic processes to block out areas on the screen; the areas left open will print. The artist lays the screen on top of a sheet of paper or other material and squeegees ink across the entire screen. The ink passes through the open areas of the stencil to create the image. The artist can then make more stencils and go back over the print with different colors and designs.

Polyester Plate Lithography

Pronto Plates are a plastic lithography plate that can be creating using ballpoint pens, Sharpie markers, China markers, and oil-based litho crayons. No chemicals are needed to process. Students simply draw their images directly onto the plates and start printing with standard oil-based litho inks. Etching and litho presses can be used in this process.