Archive for January, 2008

Student Prints using Akua Intaglio, Rochester Institute Of Technology, Instructor, David Jay Reed

Erin Holscher - Aunt - 2-color Intaglio-type
Erin Holscher - Aunt - 2-color Intaglio-type

Use Akua Liquid Pigment
for Clay Monotype

Since 1968 Mitch Lyons has been pioneering his image making from a slab of clay. First a slab of stoneware clay is rolled out. After allowing the slab to dry to a leather-hard consistency, colored slips are made using China clay and permanent pigments. These colored slips are brushed on, dried and rolled into the clay slab one color over another, building the design with images, color and textures on the matrix. Once the slab is rolled flat, a moistened piece of paper/canvass is placed over the slab. Pressure is applied using a rolling pin to transfer the clay slips onto the substrate.


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Circle

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Red Black Dots

To see more prints by Mitch Lyons please visit his artist page.

Use Akua Intaglio Inks


The word intaglio comes from the Italian language, and it means carved or recessed. Traditionally, lines or textures are cut or etched with acid into the surface of a metal plate. An intaglio-type is an image using an alternative technique that utilizes photopolymer film (ImagOn) for making the plate. This photo sensitive film can be laminated to plastic or metal plates. Photographs or hand drawn films can be used to create the incised image on the plate.
The intaglio-type plate is inked, and then wiped clean in the same manner as traditional intaglio methods. The ink lies only in the recess areas. A print is made when damp paper is laid onto the plate, and the two are rolled under pressure together in an etching press.
The Contemporary Printmaker by Keith Howard is an excellent reference book for learning this process.

Fireman's Tears by: Keith Howard
Fireman's Tears by: Keith Howard







Sunday, Apt.#11
by: Erin Holscher

Western Woodcut

Western woodcut, Proverb 4.9 by Dan Dew, printed with Akua Kolor by hand with a baren
Western woodcut, Proverb 4.9 by Dan Dew, printed with Akua Kolor by hand with a baren

Use Akua Intaglio inks


A western woodcut is relief print made from a woodblock cut with tools. The ink is rolled on to the surface of the block with a brayer.





Carborundum

Suggested Supplies

Akua Intaglio Inks / Blending Medium / Transparent Base /

Akua Carborundum Gel / Plastic Plates /Brushes/



What is Carborundum Print/Platemaking?


Carborundum printmaking is a collagraph process in which the image is created directly on the plate by applying an abrasive grit (Carborundum) mixed with an acrylic medium or glue. Once dried, it forms areas of texture or line which is then inked intaglio, relief or both. The plate is printed with an etching press or by hand with an Akua™ Pin Press in the same manner as other printmaking plates.


Since the carborundum mixture is built up on the plate, the paper embosses when going through the press creating a rich, dense surface. The plates can be printed many times.


Printmakers have been experimenting with methods for making carborundum prints for decades. AkuaCarborundum Gel improves results by offering a formulation that is consistent and reliable. Carborundum Gel is performance-tested, so printmakers can rely on the consistency of this platemaking medium from start to finish. As a result, prints will be strong and vivid, each and every time.


Printable Introductory PDF | More Info on Akua™ Carborundum Gel

 


 

Carborundum Platemaking Techniques

 

MEZZOTYPE: DARK FIELD & REDUCTIVE

DARK FIELD is a subtractive method where Carborundum Gel is applied over the entire printmaking plate and the image is created on the plate by removing the medium with various tools. Once the plate is made, it can be printed many times yielding deep, velvety prints. Carborundum Gel plates can be printed by hand with the Akua™ Pin Press or with a traditional etching press.

Click Here for How-To Instructional Guide for  Carborundum Mezzotype: Dark Field & Reductive Techniques (print friendly, 15 pg. PDF)


 

LIGHT FIELD & ADDITIVE

LIGHT FIELD is an additive method where the image is created by applying the Carborundum Gel directly on the printmaking plate.

COMING SOON! How-To Instructional Guide for Light Field and Additive Carborundum Techniques


STENCILS & SILKSCREEN

STENCIL/SILKSCREEN plates are created by squeegeeing Akua™ Carborundum Gel through a hand/machine cut or any silkscreen stencil.

COMING SOON! How-To Instructional Guide for Silkscreen and Stencil Carborundum Techniques

Japanese hanga woodcut

Japanese Hanga Woodcut, Counterpoint by April Vollmer, Japanese woodcut printed with Akua Liquid Pigment by hand with a baren
Japanese Hanga Woodcut, Counterpoint by April Vollmer, Japanese woodcut printed with Akua Liquid Pigment by hand with a baren

Use Akua Liquid Pigment

A Japanese hanga woodcut is a relief print made from a woodblock cut with tools. The ink is applied to the surface of the block with brushes.

Use Akua Liquid Pigment right from the bottle or mix with water and wheat paste or methylcellulose. The amount of each depends on the color you want, paper, and the humidity.  Note: Paste is optional. Some printmakers prefer the character of Akua Liquid Pigment with out the paste.







Use Akua Liquid Pigment for thin color with lots of plate tone to manipulate on the smooth surface of the plate

Use Akua Intaglio inks for heavier ink applications and higher contrast prints.

A Photo Carborundum print is made by applying a mixture of carborundum grit and acrylic gel to the plate by squeegee through a photo stencil adhered to a silk screen. The plate dries and hardens, and is inked and printed with a press.

Karen Cunningham printed the same PhotoCarborundum plate four times. Each time it went through the press with only one color.  She used Akua Liquid Pigment inks on all four passes.  First Dairylide Yellow, second Quinacridone Red, third Phthalo Blue Green and fourth Lamp Black.  She manipulated the ink differently each time. The paper  remained dry throughout the printing process.





Suggested  Supplies

Akua Intaglio Ink /   Blending Medium / Styrene plate & Polyester mesh /  White Acrylic / Acrylic Gloss Medium / Black Acrylic, Sponge Brush and Sand Paper

 

Instructions (View and Print)

Silk Aquatint is a non-acid method of working a print plate. The image is created by painting with whitened acrylic medium on a black silk surface backed with plastic, to produce a variety of tones and textures. The plate is then inked, wiped (like a metal plate), and printed on an etching press.

Silk Aquatint print by Rigo Pergalta. (plate show above print)

 

Silk Aquatint by Julio Valdez

 

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Silk Aquatint by: Marcos Dimas

Luis Abraham Ortiz
Luis Abraham Ortiz

Meejin Hong
Meejin Hong

Mindy Laura Kingsley
Mindy Laura Kingsley

Marcos Dimas
Marcos Dimas

Consuelo Gotay
Consuelo Gotay

Rodriguez Calero
Rodriguez Calero

© the individual artists

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Anita Hunt - Dark Foliage Viscosity monotype printed with Akua Intaglio and Akua Kolor at Zea Mays Workshop
Anita Hunt - Dark Foliage Viscosity monotype printed with Akua Intaglio and Akua Kolor at Zea Mays Workshop

Judy Lapides - Viscosity Monotype printed with Akua Kolor and Akua Intaglio at Art New England Workshop, Bennington College.
Judy Lapides - Viscosity Monotype printed with Akua Kolor and Akua Intaglio at Art New England Workshop, Bennington College.

A viscosity monotype deals with two inks with different viscosities, thick and thin, which resist one another when rolled on to the plate. Thin Akua-Kolor will resist the thicker Akua intaglio that is rolled on top.

Use Akua Liquid Pigment & Akua Intaglio inks

 

A Monoprint is an image composed of a monotype and some other form of printmaking resulting in a variable edition. Each print from the variable edition is a one of a kind print where part of the image is repeatable on a fixed matrix and part is not. The following image Family of Three was made by printing a drypoint plate on top of a subtractive monotype print. The final image was printed many times, each time in a different way.

Images below were taken from the Safer Printmaking DVD.

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Family of Three
by Susan Rostow & Jarrett Jung (age 5)
Drypoint Monoprint

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Family of Three
printed a different way

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Rolling Akua Liquid Pigment onto the monotype plate with the use of a brayer.

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Applying drops of red Akua Liquid Pigment onto the monotype plate.

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Drawing the image by removing the ink with with tissue paper.

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Printing the red plate on top of the yellow print.

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This plastic drypoint plate was printed on top of the colored monotype.

Denise Buckley - printed with Akua Intaglio and Akua Kolor at Art New England Workshop, Bennington College
Denise Buckley - printed with Akua Intaglio and Akua Kolor at Art New England Workshop, Bennington College

Anita Hunt - Flower 1 Viscosity monotype printed with Akua Intaglio and Akua Kolor at Zea May Workshop
Anita Hunt - Flower 1 Viscosity monotype printed with Akua Intaglio and Akua Kolor at Zea May Workshop

 

Use Akua Liquid Pigment & Akua Intaglio
for all types of Monotypes

A monotype is a one of a kind print where none or the image is from a repeatable plate.

Akua Liquid Pigment and Akua Intaglio water-based inks stay wet on the monotype plate for a very long time, allowing many hours to create an image. They can be printed on dry paper, which results in more brilliant colors and sharper images.

Additive & Reductive Monotype
by Catherine Tuttle using
Akua Liquid Pigment & Akua Intaglio Inks

Monotype Methods

Additive monotype: Created by painting or drawing directly on the plate. The ink is applied with a brush, or any other tool.

Reductive Monotype: Entails rolling up the plate with ink first. Then the image is wiped out with a variety of tools such as rags. (Also known as the reductive method, or dark field monotype).

Trace Monotype: A direct-drawing printmaking technique. (Also known as transfer drawing).

Viscosity Monotype: A monotype made with two or more inks with different viscosities, thick and thin, which resist one another when rolled onto the plate.

Clay Monotype: Made from a slab of clay.

Reductive Monotype

Trout Fly, Multi-Plate Reductive Monotype by Susan Rostow, printed with Akua Kolor
Trout Fly, Multi-Plate Reductive Monotype by Susan Rostow, printed with Akua Kolor

Additive Monotype

Mountain Study 3 Additive Monotype by Catherine Tuttle 22x30, Printed with Akua Kolor
Mountain Study 3 Additive Monotype by Catherine Tuttle 22x30, Printed with Akua Kolor

 

Multi-Plate Reductive Monotype

Flora, 2002 by Susan Goldman Multi-Plate Reductive Monotype. printed with Akua Kolor and Akua Intaglio
Flora, 2002 by Susan Goldman Multi-Plate Reductive Monotype. printed with Akua Kolor and Akua Intaglio

monotype

Monotype using Akua-Kolor by Carolyn Pomponio
Monotype using Akua-Kolor by Carolyn Pomponio