Use a template to keep your prints even and help keep your print margins clean. Include 2 color print variations of your block. Here is a video demo on using the tools and carving safely.Īfter creating your wood block carving, you will create an EDITION of prints, a set number of prints all the same. Always turn the block around to carve and carve away from your hand. You will carve out the blank areas, and this makes your carving easier to keep track of. MAKE A WOOD CARVING! Start with a design for your wood block project that uses dramatic lighting effects to highlight your black and white design.ĭraw your design with a Sharpie on your block. All signing is under the plate image or impression- to be visible once matted and framed! See above: edition number on left, signature or initials and the date on the right. Signing your work is a personal thing and some artists develop a signature style in this as in other aspects of their work. NOTE: There are several other methods used for signing your print, but due to the size, this is the best to use on our projects in ART 151. The year- 2018 or ’18- that the print was made is on the right side- under the plate image. Keep space for the matte framing your impression.Ĥ. Leave room just for the date, but do not go past the edge of the plate. Signature- your name or your initials are on the right side of center. Normally the title of the print-even if the title is “untitled”- is in the center area underneath the image- the most prominent place usually. Because this class has such small images, it is not necessary to title your prints. Instead of numbering this print- you use the shorthand of A/P.Ģ. *If your print is a variable- a print where you changed your inking, wiping, or added or subtracted plate-work- anything that changed from your edition- will be a variable print or variee. Thus, an edition of 4 prints and the second print of that edition would be 2/4 ( 2 over 4). It indicates the number in the edition and the number of the print- the order it was printed in the edition. This information will look like a “fraction”. Step by step: Remember to keep everything underneath the plate impression.ġ. Starting from left to right at the bottom edge of the plate impression, underneath your plate mark or the bottom edge of your paper (since these plates are very small), you will put the following information for your print- on the left is the edition number and to the right of center, your signature or initial and date/year. Leave an 1/8 to 1/4 inch around your print for matting since the traditional way to present your finished print is in a frame.Ĭ. Use a sharpened pencil to sign your prints, preferably an H or HB.ĭo not use a B, soft graphite or charcoal pencil and never use a pen!ī. Signing Your Prints- A basic how-to-guideĪ. The collagraph plate below was quickly created using string and sandpaper and then covered tin foil, run through the press, to create a plate that will be easy to ink:Ĭheck out the variety of imagery in this collection of collagraph samples Here is a Youtube Video showing the use of intaglio and relief inking here.Īnd this one on using viscosity inking on a collagraph plate here. NOTE: Check out this demo on the basics of wiping your collagraph plate. Using good wiping skills and less ink is always recommended. Excess ink trapped in your collaged designs can present a challenge to getting a good print. A Pin Press also works well with collagraphs. Set a light pressure and use lots of newsprint. Make sure to use older blankets or use foam or carpet padding to protect your press and your plate and give you the best impression. Use dampened 100% cotton rag paper- soak it in the paper bath for 20 minutes and remove carefully onto the blotters. Make use of the plate tone and watch out for areas on your plate holding pockets of ink, which might ruin you impression in the press.ġ. Ink your plate using either the intaglio method or relief or a mix of both, as seen in the example below. Watch your plate depths and edges as a common problem is tearing the paper in the printing or creating areas that hold too much ink. Things that create tone and hold ink are sandpaper of different grits, netting, cutting into board, and glue with carborundum or sand. Start with the substrate such as the illustration board, and either mount a photo copy or draw directly onto the board- remember you can cut up and collage shapes to make tones as well. Once this is done, your collagraph plate is sealed with an acrylic medium to allow inking and cleaning. Basically created by making a collage of shapes and textures that are glued to a simple substrate such as cardboard or illustration board. A collagraph (or collograph) is a straight forward way to create a printmaking plate.
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