Thank you for answering this question for me - "can I use a plexi etch to add detail to a paper that has been previously printed as the last step in a multi block multi plexi print ?" I now feel confident for my up coming experiment after seeing this video, and I'm so pleased that you anticipated my question 9 years ago. Thank you very much !
Hi James - I’m glad the details were pertinent to your printmaking project, and I hope your drypoint/etch details make your print project sing! Happy printing to you!
Hi Belinda, After searching on-line for printmaking information so far I've found yours to be the most informative. After a 40+ year career in commercial graphics and advertising I finally have the time to return to my college fine arts dream of being an artist for my own satisfaction.
I just found your channel. I love your work. You are extremely talented. As a disabled artist with chronic illness it is incredibly frustrating to want to work and be so limited. I have gotten so much pleasure from watching your channel. I had never heard of using mat board as a printing plate beforehand I have found your techniques fascinating. I really want to create art this year. I can see my work space from my bed and barely created at all last year. I m inspired to sit at my desk in my wheelchair and make some art so thank you. ❤️❤️❤️⭐️⭐️⭐️👍👍👍
Hi Fiona! Thank you so much for your kind note and encouraging feedback. I hope you do reach for your art supplies - even with a lap desk propped up in bed. It's so soothing, and the time passes magically. You might enjoy some of the appropriate-to-you prompts in this free mini course about creating time to make art: www.sixtipstopaintmore.com
Horacio pietri - Thanks for stopping by, and thanks for the compliments. The press blankets are just over two years old, so they are still clean, but I can make no predictions on the future. :)
Beautifull image, better technique...i.m very "impressed" (literaly..) with the press and the inmaculate blanket..the technique, allows to fit one image over the plexiglass plate intaglio very good. Thanks for your video one more time.
Hi Nick, for this process, I’ve never tried printing with dry paper, so you might run some tests in your press. At the very least, I’ve spritzed the print with a fine atomizer and blotted quickly just before running it through the press. Are you printing on water soluble inks?
@@bdelpesco Hello, I do not yet own a press. But I know several old presses which are available. And it is just a matter of time that I will restaure them. To start with an Albion Letterpress from the 19th century. Next a Johne Press made in Bauzen Germany prior to 1918. And I recently discovered an antic Rubbersheet Press made in Britain at a scrap yard which seems to be suitable to be modified into a printing press by adding the horizontal moving plate in between the two cylinders. With all these options on hand I shall call this situation a "Printing Workshop hopeful". I'll do some RUclips uploads about the adventure.
Hi Lizz, if you ever decide to get a press, let’s talk! It’s incredibly fun, and making multiples of your lovely still life paintings would work in all sorts of printmaking methods.
Collagraphy is actual the most similar of all the printing techniques to Floor Lino Embossing because it uses both relief and intaglio printing, i.e. picking up paint from above and within the grooves. I discovered about collography by watching your films! I love the idea of applying more succinct additions and was going to make combine floor lino embossing techniques with linocuts... but this technique is way better... And I always thought that a collagraph was an intenstinal x-ray!
😂 no X-rays here, pinky promise! But collagraph printmaking is a whole World of exploration bc the materials are accessible and inexpensive, and there’s a lot of inventive examples online.
Hi daisy3690 ! Yes, this approach might benefit from some experience, or at least a little hands-on assistance from someone familiar with both printmaking methods, but it sure is fun! Thanks for stopping by.
Hi Rebecca, I used printmaking inks that are water-wash up, but dry permanently. I'd recommend Akua intaglio, or Cranfield Caligo Safewash intaglio inks.amzn.to/38hsN0e
@@bdelpesco Are there medium which can be added to paints to make it dry permanently? I know the ones that thicken and that cause to dry quicker...and as of recently from your film magnesium carbonate (I wonder if the magnesium pills I bought will work when I crush them... like, really!). I'd like to use expensive intaglio inks but I'd far prefer to disobey all the rules and find my own way to make other material useable. I'm terrible like that!
Hi Diane, I've got an amazingly wonderful Takach Table top etching press. Here is a link to the folks who make them: takachpress.com/etchtbl/index.htm Thanks for the compliments!
+Angela Gonzalez I don't do workshops, other than the video tutorials here on RUclips ;) they're free, and you can watch as many times as you like, in your pajamas! 😉
Thank you for directing me to this video it has been very educational. I found it interesting that you used intaglio water based ink for the collagraph and shall be doing this in future where I want to add a drypoint afterwards. I notice from some of the comments that you recommend adding a stiffener to the Akua Intaglio Ink for the drypoint, I have always had very good results with drypoint using the ink "as is" so is it because you are printing the drypoint over the preprinted collagraph that a stiffener is required? Does the collagraph ink change the absorption of water when pre-soaking for the drypoint?
Hello Norfolk, I'm using intaglio ink on the collagraph because I find that Akua intaglio inks can be modified for just about any printmaking method - relief, or intaglio. I add MagMix to stiffen the intaglio ink because it gives me a sharper line for drypoint prints. It does indeed work fine as is, but with tiny details, and filigree cross hatch, I get finer fidelity in the print when I stiffen the ink. It's not necessary got this process at all - unless you find your looser ink prints a fatter line, etc. The collagraph print didn't affect the second soak & blot of the paper at all. Since the collagraph ink was printed quite thin and transparent, the drypoint inks on top of the collagraph still had access to the paper underneath it to dry in a day or two. Does that answer your questions? Let me know if you have more... :)
thanks Belinda. The resulting print from the combination of mediums turned out beautifully. Did you experience any issues during the edition printing involving off-registratation due to plate slippage when passing under the press rollers?
Hi Brian, Thanks for the compliments. There was no plate slippage under the rollers, but the paper-stretch being soaked & blotted twice made precise registration a little loose. I'm not a perfect alignment gal though - I like seeing evidence of hand-made variations in art. The listing for Whale & Mermaid in my etsy shop has a zoom feature, and if you want to see the 1/8 inch skip between the collagraph plate and the drypoint plate alignment, www.etsy.com/listing/195093307/mermaid-swimming-with-a-humpback-whale? zoom in and look at the top - near the plate impression on the print. Not aligned, but not harmful to the aesthetic of the overall art. :)
Hi Belinda. As always, I appreciate your videos. I have a question- if the plexi plate is made by tracing the collagraph plate, but the actual collagraph print itself is later soaked again, before receiving the etching print, wouldn't the background print be too big to properly register with the plexi plate?
Hi Kathleen - that's a great question... and the answer depends on the type, ingredients and weight of your paper, and how long you soak it. This collagraph and drypoint print was pressed against BFK Rives heavy weight paper, soaked briefly, and blotted thoroughly. The alignment of the drypoint plate over the collagraph print was "eyeballed" rather than registered with a jig or clips. So the paper did expand a bit, and my hand-held alignment wasn't always spot on, and there *is* some overlap and registration wonks in each print. And that's totally okay in my view. It shows that the print was hand made, by one person, in a small studio, making art. Know what I mean? Look at this blog post about that print, and examine the wonky registration on the collagraph. www.belindadelpesco.com/drypoint-collagraph.html/
A collograph refers to a collage of materials glued on to a "printing plate," which is a square of cardboard. When glue is dry, it is shellaced or varnished so that it can be painted with acrylics. Paper is then pressed on to the surface to produce a print. “Colla” means glue in Italian
Hi Lisa, There are collagraph tutorials here on RUclips, and tons of process shots and descriptions in collagraph posts on my blog. Did you have a particular question?
Belinda, I thank you for explaining that you soak the paper for both processes so there will be alignment, but could you tell me how your ink doesn't smear after printing? And are you also using water-based intaglio inks as you have used in some of your other demos?
Hi +Megan Martin - The Akua intaglio inks wash up with water, but after they dry, they're no longer water-soluble, so you can soak the paper without worrying about ink bleeding. I used BFK Rives paper, and Akua Intaglio ink for the color portion of the print, and the drypoint element was Charbonnel and Graphic Chemical oil based inks mixed 50/50, but you could just as easily use Akua modified and stiffened with their line of MagMix. I hope that's helpful. :)
+Belinda Del Pesco - Thanks for your reply, yes it's very helpful to get your message and thanks for revealing more of your process. I am an art educator, always trying to avoid toxic materials in my classroom, and I love Akua intaglio inks, but often find I'm using them inexpertly or allowing them to be used in ways they weren't intended to be used. I suppose we're not allowing the first layer of ink to dry appropriately before running a second impression, and this is why. I never tried to layer oil based over Akua, but will try it now that you've suggested it (maybe without the students).
Hi +Megan Martin - I'm happy to help. What make and weight of paper are you using in the classroom? And how long are you giving the inks to dry? And are you modifying them with anything like magmix or tack thickener, etc?
+Belinda Del Pesco So far, in using monotype and drypoint processes in connection to one another, we have used Stonehenge, White, 250 gsm, torn from 22 x30 sheets. For the monotype process, we printed with sprayed or dry papers, and printed the monotype plates with a baren. For the drypoint plate, we soaked the paper 10-15 minutes, blotted on blotter paper, and printed through an etching press. As I've only completed 3 or 4 demo plates as one-offs, and they were printed in a short period of time (not in an edition), this may be a contributing factor to transfer of ink between a monotype layer and the drypoint layer. I plan to spend some time really puzzling out and documenting a multi-step process, I will arrive at better results. I'm an experienced educator, but printmaking is my 6th discipline in 12 years, so I'm hardly an expert. Most of my experiences are from high school classes and college classes are too long ago, and weekend printmaking workshops are amazingly specific but not always adaptable to the classroom.
Hi +Megan Martin - It sounds like an excellent project for your students! which ink are you using? And are you modifying it? Is the monotype ink in the first layer smearing when you print the drypoint on top?
The link you provided for the plexiglass is now a broken link. Could you tell me the thickness of the plexiglass you used? Sorry if you mentioned it already. I didn't notice.
Hi InsertName130 - I’ve used both 1/8th inch and 1/16 inch plexi. But I’ve also made drypoint prints from drafting film, so I think you can use any thickness that works with your press. (Thanks for telling me about the broken link!)
You probably will hear back from me. I'm very interested in this and plan to start buying some of the materials to get started soon. I've watched a lot of videos and your's seem so concise about the process. It makes it a lot less worrisome to get started with the initial investment.
I hope your supplies are trickling in. Start smallish and simple to get the "feel" for the process first, and then work your way up to more complex and layered designs. Success encourages us, so it's a good idea to reach for that with simple designs at first. :) .
Belinda, thanks as always. Beautiful print. When you say you can lay the plexi on top of the colograph to do the drypoint - wouldn't you be incising the wrong side of the plexi? I always get confused by this and often print backwards!
Hi Belinda, could I please just ask - will this work with just wooden spoon 'brayer' technique? I am just experimenting with monoprints and do not have a press. Thanks
Michael Kirkby Hi there! This particular process (there are two here) works best with a press. But in your experiments with monotype and monoprint, there are *so many* variables with that method, it could keep you busy for months and months, with no need for a press! Are you having fun with it?
@@bdelpesco Thanks for your reply. I live here in Rye,UK on the south coast so yes, plenty to look at for subject matter. Look it up! I am a pastel.artist, but fascinated about Degas use of monoprints with pastels. I will try different methods of roller or brayer. I'll let you know what happens! Best wishes, Michael
Michael Kirkby hi there, yes, I know where Rye is... my maternal grandmother was born in Lancashire. 🗺🚢 A book was published in 2017 called Pastel Innovations, and it includes a section on printmaking to transfer pastels. Have you seen it? Might it be in your Rye library?
Hello Guy, I’ve got ‘em stored in my studio. They’re in envelopes with the proofs, reference materials, remaining edition prints, alphabetically by title, just like old fashioned library cards in baskets. Woodblocks are not part of this set up. But not a warehouse... just two bread box size baskets. Easy peasey. How do you store your plates?
@@bdelpesco I Like to draw so my reference are in book form or in a portfolio. You are very talented. Would image you would have more then a bread basket warehouse. Kidding. Thanks for responding.
😆 Thanks for the compliment, and the note. A few hundred plates, give or take. I might refer to the baskets as my warehouse from now on. Thanks for that. 👍🏼
Hi Julie, If your design is simpler than this one, yes, you can either hand-transfer the prints, like in this video: bit.ly/1HHRBtf or use a pin-press like Susan Rostow in this video: bit.ly/1zaApCr The trick will be to keep your registration pinned down, and to avoid moving the paper while transferring which would lead to blurred lines, and mis-matched edges. Good luck!
Hi +Julie Gasque - if you kept the design very simple, and small - you could experiment & try it. I have a tutorial on this channel showing a hand-printed drypoint... it's a bit of work, but it can be done. If you do try to mix these methods - please come visit and let us know how it turned out.
Hi Phil, the plates for each printmaking method were different but the single sheet of paper was soaked and blotted in the same time amount so the swell & shrink were the same for each part of the process. And for the record, variations and overlap of edges in print registration is not something I fret about because it is evidence that each print is hand made. Perfection isn’t a goal (for me). I hope that answers your question. 🙋🏻♀️
Hi Barbara, Thanks very much for your note… the link takes you to a subscription form to get each of my blog posts automatically, via email. I use Mad Mimi as my email list management site. I’m sorry of that was confusing. Here is a link to my site, directly: www.belindadelpesco.com
Hi Sadieat1 - Which link are you referring to? The mat board collagraph link in the Show More section works over here. ruclips.net/video/hxPDNyMqwdc/видео.html Give it a click and see if it works for you now. Thanks for letting me know. :)
Thank you for answering this question for me - "can I use a plexi etch to add detail to a paper that has been previously printed as the last step in a multi block multi plexi print ?" I now feel confident for my up coming experiment after seeing this video, and I'm so pleased that you anticipated my question 9 years ago. Thank you very much !
Hi James - I’m glad the details were pertinent to your printmaking project, and I hope your drypoint/etch details make your print project sing! Happy printing to you!
You're a real draftsman and I really appreciate your level of skill and commitment. Thank you for sharing.
Thanks for the kind words, and your encouraging feedback. Much appreciated! :)
Hi Belinda, After searching on-line for printmaking information so far I've found yours to be the most informative. After a 40+ year career in commercial graphics and advertising I finally have the time to return to my college fine arts dream of being an artist for my own satisfaction.
Hi there JW, congratulations on your open schedule! I look forward to seeing the results of your experiments! Thanks for the compliment. :)
Belinda, I love your videos. Your instruction is clear and your attention to detail is helpful. The added bonus is seeing your lovely work come alive!
Thanks for the kind words, Annie!
What a beautiful method. Thank you!
Thanks for the compliment, @pictureel5863 ! Happy experimenting!
I just found your channel. I love your work. You are extremely talented. As a disabled artist with chronic illness it is incredibly frustrating to want to work and be so limited. I have gotten so much pleasure from watching your channel. I had never heard of using mat board as a printing plate beforehand I have found your techniques fascinating. I really want to create art this year. I can see my work space from my bed and barely created at all last year. I m inspired to sit at my desk in my wheelchair and make some art so thank you. ❤️❤️❤️⭐️⭐️⭐️👍👍👍
Hi Fiona! Thank you so much for your kind note and encouraging feedback. I hope you do reach for your art supplies - even with a lap desk propped up in bed. It's so soothing, and the time passes magically. You might enjoy some of the appropriate-to-you prompts in this free mini course about creating time to make art: www.sixtipstopaintmore.com
Horacio pietri - Thanks for stopping by, and thanks for the compliments. The press blankets are just over two years old, so they are still clean, but I can make no predictions on the future. :)
Thank You,Belinda.I am learning a lot with you.I love your works.Have a nice week.
Thanks for the feedback, Clariola! You have a nice week too!
lOVE THIS! I Look forward to your videos!
Thank you, Pejj!
impressive result.
Thanks, Oren!
Belinda,
What a treat!
This was so helpful as I have begun a series that would utilize these two methods. Thanks
Hi +Marti Schmidt - I'm so glad it was helpful. Thanks for the feedback. Happy printmaking!
Beautifull image, better technique...i.m very "impressed" (literaly..) with the press and the inmaculate blanket..the technique, allows to fit one image over the plexiglass plate intaglio very good. Thanks for your video one more time.
Wonderful demo, very clear... and it's a great print.
Thanks so much, my friend! I hope you are busy printing many editions this season! :)
This is a beautiful print and fabulous process. I can't wait to try it myself. Thank you for you great teaching methods, so appreciated.
Hi Sheila, Thanks for your compliments. I hope you get to try this process as soon as you get your new press. :)
I really look forward to your videos!
Thanks Max. Are you going to do a video tutorial on book binding? :)
Love it. Going for it. 👌🏻
I’m so glad you’re going for it - I hope you have an excellent printmaking adventure!
Beautiful!
Thank you! :)
Great! I will try it. Thanks for posting this useful guide.
Hi David, Thanks for stopping by. Please share the results after you print! :)
Thank you for another informative video. I have an old house image I'll try this technique on.
Thanks for the compliment... Your house image sounds intriguing, so please post a link to it when you're finished!
Nice. Can this all be done without moisturising the paper? In case a printing press is used?
Hi Nick, for this process, I’ve never tried printing with dry paper, so you might run some tests in your press. At the very least, I’ve spritzed the print with a fine atomizer and blotted quickly just before running it through the press. Are you printing on water soluble inks?
@@bdelpesco Hello, I am at the beginning. Step by step. I don't even have the ink yet.
@@NickVenture1 ahhh, that’s the best part. ALL the opportunities to experiment, discover & harvest new knowledge. Do you have a press?
@@bdelpesco Hello, I do not yet own a press. But I know several old presses which are available. And it is just a matter of time that I will restaure them. To start with an Albion Letterpress from the 19th century. Next a Johne Press made in Bauzen Germany prior to 1918. And I recently discovered an antic Rubbersheet Press made in Britain at a scrap yard which seems to be suitable to be modified into a printing press by adding the horizontal moving plate in between the two cylinders. With all these options on hand I shall call this situation a "Printing Workshop hopeful". I'll do some RUclips uploads about the adventure.
That is really a cool demo!! Thanks so much. You are tempting me to buy a press!!:)
Hi Lizz, if you ever decide to get a press, let’s talk! It’s incredibly fun, and making multiples of your lovely still life paintings would work in all sorts of printmaking methods.
That is an awesome print.
Hi Therese! Thanks for the compliment! Happy printmaking!
Thank You! Amazing
Thanks, King!
Collagraphy is actual the most similar of all the printing techniques to Floor Lino Embossing because it uses both relief and intaglio printing, i.e. picking up paint from above and within the grooves. I discovered about collography by watching your films! I love the idea of applying more succinct additions and was going to make combine floor lino embossing techniques with linocuts... but this technique is way better... And I always thought that a collagraph was an intenstinal x-ray!
😂 no X-rays here, pinky promise! But collagraph printmaking is a whole World of exploration bc the materials are accessible and inexpensive, and there’s a lot of inventive examples online.
Awesome. Thank You Belinda : -)
Hi Maria - thanks for the compliments, and I'm glad you enjoyed the demonstration. :)
I think experience is required for this method, but what a result! Thank you for sharing. bye
Hi daisy3690 ! Yes, this approach might benefit from some experience, or at least a little hands-on assistance from someone familiar with both printmaking methods, but it sure is fun! Thanks for stopping by.
Loved this thank you what kind of paint did you use on the collagraph so that it didn't smudge when you wet the paper again for the drypoint?
Hi Rebecca, I used printmaking inks that are water-wash up, but dry permanently. I'd recommend Akua intaglio, or Cranfield Caligo Safewash intaglio inks.amzn.to/38hsN0e
@@bdelpesco Are there medium which can be added to paints to make it dry permanently? I know the ones that thicken and that cause to dry quicker...and as of recently from your film magnesium carbonate (I wonder if the magnesium pills I bought will work when I crush them... like, really!). I'd like to use expensive intaglio inks but I'd far prefer to disobey all the rules and find my own way to make other material useable. I'm terrible like that!
Beautiful work! What press are you using? I’m in the market for one like yours.
Hi Diane, I've got an amazingly wonderful Takach Table top etching press. Here is a link to the folks who make them: takachpress.com/etchtbl/index.htm Thanks for the compliments!
Thanks for the info. Belinda!
Greattttttt. Thanks from TIJUANA México Angela
Thank you from California! :)
+Belinda Del Pesco Hello. Do you do workshops? Where are you located?
+Angela Gonzalez I don't do workshops, other than the video tutorials here on RUclips ;) they're free, and you can watch as many times as you like, in your pajamas! 😉
Thanks so much..... Hugs.
+Angela Gonzalez - thank you!
Thank you for directing me to this video it has been very educational. I found it interesting that you used intaglio water based ink for the collagraph and shall be doing this in future where I want to add a drypoint afterwards. I notice from some of the comments that you recommend adding a stiffener to the Akua Intaglio Ink for the drypoint, I have always had very good results with drypoint using the ink "as is" so is it because you are printing the drypoint over the preprinted collagraph that a stiffener is required? Does the collagraph ink change the absorption of water when pre-soaking for the drypoint?
Hello Norfolk, I'm using intaglio ink on the collagraph because I find that Akua intaglio inks can be modified for just about any printmaking method - relief, or intaglio. I add MagMix to stiffen the intaglio ink because it gives me a sharper line for drypoint prints. It does indeed work fine as is, but with tiny details, and filigree cross hatch, I get finer fidelity in the print when I stiffen the ink. It's not necessary got this process at all - unless you find your looser ink prints a fatter line, etc. The collagraph print didn't affect the second soak & blot of the paper at all. Since the collagraph ink was printed quite thin and transparent, the drypoint inks on top of the collagraph still had access to the paper underneath it to dry in a day or two. Does that answer your questions? Let me know if you have more... :)
thanks Belinda. The resulting print from the combination of mediums turned out beautifully. Did you experience any issues during the edition printing involving off-registratation due to plate slippage when passing under the press rollers?
Hi Brian, Thanks for the compliments. There was no plate slippage under the rollers, but the paper-stretch being soaked & blotted twice made precise registration a little loose. I'm not a perfect alignment gal though - I like seeing evidence of hand-made variations in art. The listing for Whale & Mermaid in my etsy shop has a zoom feature, and if you want to see the 1/8 inch skip between the collagraph plate and the drypoint plate alignment, www.etsy.com/listing/195093307/mermaid-swimming-with-a-humpback-whale? zoom in and look at the top - near the plate impression on the print. Not aligned, but not harmful to the aesthetic of the overall art. :)
Hi Belinda. As always, I appreciate your videos. I have a question- if the plexi plate is made by tracing the collagraph plate, but the actual collagraph print itself is later soaked again, before receiving the etching print, wouldn't the background print be too big to properly register with the plexi plate?
Hi Kathleen - that's a great question... and the answer depends on the type, ingredients and weight of your paper, and how long you soak it.
This collagraph and drypoint print was pressed against BFK Rives heavy weight paper, soaked briefly, and blotted thoroughly. The alignment of the drypoint plate over the collagraph print was "eyeballed" rather than registered with a jig or clips. So the paper did expand a bit, and my hand-held alignment wasn't always spot on, and there *is* some overlap and registration wonks in each print. And that's totally okay in my view. It shows that the print was hand made, by one person, in a small studio, making art. Know what I mean?
Look at this blog post about that print, and examine the wonky registration on the collagraph. www.belindadelpesco.com/drypoint-collagraph.html/
A collograph refers to a collage of materials glued on to a "printing plate," which is a square of cardboard. When glue is dry, it is shellaced or varnished so that it can be painted with acrylics. Paper is then pressed on to the surface to produce a print. “Colla” means glue in Italian
Hi Francesco! Thanks for sharing one of the collagraph definitions. Happy printmaking! :)
Hi Belinda,
Do you have online Collagraph tutorials?
Hi Lisa, There are collagraph tutorials here on RUclips, and tons of process shots and descriptions in collagraph posts on my blog. Did you have a particular question?
Belinda,
I thank you for explaining that you soak the paper for both processes so there will be alignment, but could you tell me how your ink doesn't smear after printing? And are you also using water-based intaglio inks as you have used in some of your other demos?
Hi +Megan Martin - The Akua intaglio inks wash up with water, but after they dry, they're no longer water-soluble, so you can soak the paper without worrying about ink bleeding. I used BFK Rives paper, and Akua Intaglio ink for the color portion of the print, and the drypoint element was Charbonnel and Graphic Chemical oil based inks mixed 50/50, but you could just as easily use Akua modified and stiffened with their line of MagMix. I hope that's helpful. :)
+Belinda Del Pesco - Thanks for your reply, yes it's very helpful to get your message and thanks for revealing more of your process. I am an art educator, always trying to avoid toxic materials in my classroom, and I love Akua intaglio inks, but often find I'm using them inexpertly or allowing them to be used in ways they weren't intended to be used. I suppose we're not allowing the first layer of ink to dry appropriately before running a second impression, and this is why. I never tried to layer oil based over Akua, but will try it now that you've suggested it (maybe without the students).
Hi +Megan Martin - I'm happy to help. What make and weight of paper are you using in the classroom? And how long are you giving the inks to dry? And are you modifying them with anything like magmix or tack thickener, etc?
+Belinda Del Pesco
So far, in using monotype and drypoint processes in connection to one another, we have used Stonehenge, White, 250 gsm, torn from 22 x30 sheets. For the monotype process, we printed with sprayed or dry papers, and printed the monotype plates with a baren. For the drypoint plate, we soaked the paper 10-15 minutes, blotted on blotter paper, and printed through an etching press. As I've only completed 3 or 4 demo plates as one-offs, and they were printed in a short period of time (not in an edition), this may be a contributing factor to transfer of ink between a monotype layer and the drypoint layer. I plan to spend some time really puzzling out and documenting a multi-step process, I will arrive at better results. I'm an experienced educator, but printmaking is my 6th discipline in 12 years, so I'm hardly an expert. Most of my experiences are from high school classes and college classes are too long ago, and weekend printmaking workshops are amazingly specific but not always adaptable to the classroom.
Hi +Megan Martin - It sounds like an excellent project for your students! which ink are you using? And are you modifying it? Is the monotype ink in the first layer smearing when you print the drypoint on top?
The link you provided for the plexiglass is now a broken link. Could you tell me the thickness of the plexiglass you used? Sorry if you mentioned it already. I didn't notice.
Hi InsertName130 - I’ve used both 1/8th inch and 1/16 inch plexi. But I’ve also made drypoint prints from drafting film, so I think you can use any thickness that works with your press. (Thanks for telling me about the broken link!)
Thank you.
If you get stuck along the way in your printmaking adventure, come back and leave a comment. I'll try to help if I can. Have fun!
You probably will hear back from me. I'm very interested in this and plan to start buying some of the materials to get started soon.
I've watched a lot of videos and your's seem so concise about the process. It makes it a lot less worrisome to get started with the initial investment.
I hope your supplies are trickling in. Start smallish and simple to get the "feel" for the process first, and then work your way up to more complex and layered designs. Success encourages us, so it's a good idea to reach for that with simple designs at first. :)
.
Belinda, thanks as always. Beautiful print. When you say you can lay the plexi on top of the colograph to do the drypoint - wouldn't you be incising the wrong side of the plexi? I always get confused by this and often print backwards!
ha . Nevermind, I watched it again more closely and understand what you did.
😆
Did you see my reply about peering through the plexiglass to make sure it aligned? I'm glad you understand how to do it now!
Hi Belinda, could I please just ask - will this work with just wooden spoon 'brayer' technique? I am just experimenting with monoprints and do not have a press. Thanks
Michael Kirkby Hi there! This particular process (there are two here) works best with a press. But in your experiments with monotype and monoprint, there are *so many* variables with that method, it could keep you busy for months and months, with no need for a press! Are you having fun with it?
@@bdelpesco Thanks for your reply. I live here in Rye,UK on the south coast so yes, plenty to look at for subject matter. Look it up! I am a pastel.artist, but fascinated about Degas use of monoprints with pastels. I will try different methods of roller or brayer. I'll let you know what happens! Best wishes, Michael
Michael Kirkby hi there, yes, I know where Rye is... my maternal grandmother was born in Lancashire. 🗺🚢 A book was published in 2017 called Pastel Innovations, and it includes a section on printmaking to transfer pastels. Have you seen it? Might it be in your Rye library?
@@bdelpesco I'll check out that book, thanks. I have thought about trying oil pastels as print colour in monoprint, but yet to try it.
Michael Kirkby both oil and chalk pastels work as monoprint transfers. Have a ton of fun!
When you make your plate for printing do you save them. And if you save all your plates you must have a warehouse full. Just curious.
Hello Guy, I’ve got ‘em stored in my studio. They’re in envelopes with the proofs, reference materials, remaining edition prints, alphabetically by title, just like old fashioned library cards in baskets. Woodblocks are not part of this set up. But not a warehouse... just two bread box size baskets. Easy peasey. How do you store your plates?
@@bdelpesco I Like to draw so my reference are in book form or in a portfolio. You are very talented. Would image you would have more then a bread basket warehouse. Kidding. Thanks for responding.
😆 Thanks for the compliment, and the note. A few hundred plates, give or take. I might refer to the baskets as my warehouse from now on. Thanks for that. 👍🏼
Can this technique be accomplished without a press?
Hi Julie, If your design is simpler than this one, yes, you can either hand-transfer the prints, like in this video: bit.ly/1HHRBtf or use a pin-press like Susan Rostow in this video: bit.ly/1zaApCr The trick will be to keep your registration pinned down, and to avoid moving the paper while transferring which would lead to blurred lines, and mis-matched edges. Good luck!
Hi +Julie Gasque - if you kept the design very simple, and small - you could experiment & try it. I have a tutorial on this channel showing a hand-printed drypoint... it's a bit of work, but it can be done. If you do try to mix these methods - please come visit and let us know how it turned out.
You made sure the 2 prints were done on wet paper but didn't you scribe the drypoint from a dry print which would have shrunk
Hi Phil, the plates for each printmaking method were different but the single sheet of paper was soaked and blotted in the same time amount so the swell & shrink were the same for each part of the process. And for the record, variations and overlap of edges in print registration is not something I fret about because it is evidence that each print is hand made. Perfection isn’t a goal (for me). I hope that answers your question. 🙋🏻♀️
just to let you know, your blog link in the description links to a site called mad mimi, not your site.
Hi Barbara, Thanks very much for your note… the link takes you to a subscription form to get each of my blog posts automatically, via email. I use Mad Mimi as my email list management site. I’m sorry of that was confusing. Here is a link to my site, directly: www.belindadelpesco.com
Artissimma
🙃🎨👍🏽
:-( the mat board collagraph video link does not work. Thank you for all your other videos. You are amazing!
Hi Sadieat1 - Which link are you referring to? The mat board collagraph link in the Show More section works over here. ruclips.net/video/hxPDNyMqwdc/видео.html Give it a click and see if it works for you now. Thanks for letting me know. :)