Printing Processes

     We reviewed three different ways of printing: ink relief, intaglio, and lithography. They each share characteristics but have many different requirements, steps, and even tools. With different applications, resources, and finished products, each one is important.

Ink Relief

     Forms of ink relief was first used before the press was invented, so it could all be done by hand. With wood cut, the grain is important for the impressions it leaves in the black areas, while with the linoleum cut the black area is full and unbroken. In both cases, a previously drawn image can be traced or the image can be directly drawn onto the surface. Similar carving tools are used to define the white areas of the image, while places left alone are the black areas. Most styles are either white marks in a black area or small black streaks left in a white area. Many pictures use both is tandem. Once the image is complete, the object is treated properly then ink is applied. A slightly damp piece of paper is put on top and pressure is gently administered, either by a printing press or by a baren (which is a small wood circle that applies pressure to an area wider than your hand).

How To

1) A wood block is prepared with a special wash to darken the wood right. (Wood blocks only)

2) An image can be transferred to the block with iron oxide or carbon paper. Trace over the desired image and the pressure with leave marks on the block, not affecting the final piece. (Wood block only) The block can also be directly drawn on. (Linoleum only)

3) Choose which etching form or design you want to use by carving with different methods and tools to achieve different looks.

4) Once the image is complete, ink is rolled gently onto the raised, black areas.

5) Slightly damp paper is set on top of the block and pressure is applied using either a printing press or a baren.

Intaglio

     Intaglio can be separated into many smaller bits but it mainly dry point and etching. Dry point consists of scratching at a copper plate which creates a bur or trough for ink to later sit in. It does not remove the copper, just shifts it around. Then the plate is strengthened in steel facing, a process that involves putting the plate into a special solution for a period of time. This is important so it does not break or the burs are not lost during printing. Etching involves coating the sheet with hard ground, usually made from asphalt, wax, and rosin. The plate is then suspended upside down and a match is lit underneath to heat the copper and let is absorb the soot. After this the copper sheet is jet black and ready for drawing. Anything carved away is simply removing the soot and ground, but leaving the copper untouched and showing through. Next, the plate is etching, which means it is set in acid, pulled out and rinsed, then set back in to create an even and refined black line. Once the plate is prepared, it is painting with ink in wipes meant to force it into the troughs. Tarlatan is used to remove any excess ink from the surface, leaving only the burs. Lastly, a dampened sheet of paper is laid on top and put through the printing press.

How To

1) A copper sheet is treated with solutions to clean and polish it, removing anything that may interfere with the image. (Etching only)

2) The copper plate is coated in hard ground and suspended upside down over a lit match. (Etching only)

3) The image is carved into the sheet with a variety of tools.

4) The plate goes through etching: submerged in acid for 15 minutes, then rinsed, then put back in acid for another 15 minutes. (Etching only) Otherwise, it is placed in a solution to go through steel facing. (Dry point only)
5) The sheet is wiped thoroughly with ink, forcing it into the recesses. Excess ink is then cleaned away.
6) The damp paper is gently applied and ran through the printing press.

Lithography

     Lithography is similar to the first two types, but based on receptive stones like limestone. It is also dependent on oil and waters' resistant relationship. The artist uses greasy drawing materials like lithographic crayons and lithopencils or removed using blades or sandpaper, then the surface is treating with substances like gum arabic to establish blank areas. Rosin and talc help push the grease and etch the drawing into the stone rather than actually carving. Then a colored grease can be added to color the drawing. The stone then goes through a process called cooling down, where gum arabic is evenly, gently applied, then acidic gum arabic, then normal gum arabic once more. After there is no longer too much acid, a cheesecloth is used to buff it smoothly. Next the drawing is washed in litholine, causing the visible image to disappear. This leaves an almost ghostly image on the surface from residue. Asphaltum is then buffed onto the picture to replace the drawing material. Any excess material is wiped with a wet towel and then sponged. Ink is immediately applied and next, the damp paper is laid on top and pressure is added to press the ink down into the stone. This process is repeated 4 to 5 times to get the stone prepared for a full inking.

How To

1) Greasy materials are used to create the image on a receptive stone.

2) Gum arabic is applied to the stone, followed by rosin and talc.

3) Colored grease can be added.

4) Gum arabic is applied gently and evenly, then an acidic gum arabic, and then a normal one again.

5) After remaining acid is cleared, the image is buffed with cheesecloth.

6) The surface is washed in litholine.

7) Asphaltum is buffed into the image areas to replace drawing materials.

8) The stone is washed with a wet cloth and sponge.

9) Ink is applied and a damp paper is set on top.

10) Pressure is added thoroughly.

11) Repeat steps 8-10 4 to 6 times to achieve a full inking.