Hi Belinda, thank you for your insight and reply, I use Poyldraw as a surface for acrylic painting, the pigment and binder in the paint (golden paints) has an amazing aesthetic and stable molecular connection. No matter how thin I paint it looks wonderful. I mostly paint spatial Cityscapes with acrylic on linen and occasionally I make abstracts on Polydraw as an unfiltered automatic painting process ( gestural works to counter my technical process of working ). Next year I will be making paintings around 80 x 150cm using Polydraw and layering them with an LED backlight, a bit like layers in Photoshop. Examples can be seen on my instagram page @farrellartist
I am new to print making and I am learning so much from you.! Thank you so much for sharing your information. I can’t wait to try all of these things you have a demonstrated. ❤️
Hi Linda! Welcome back! I'm glad the tutorial was helpful, and if you bump into any questions as you create a drypoint yourself, don't be afraid to come back here and leave a comment. I'll reply as soon as I can. 😃
This is amazing, I am going to have to try this, I have just finished my art degree but I want to keep up with my art! I started this channel to keep my creative process flowing and I love finding other artists and tutorials, it's so much fun!
Hi Prisilla - Thanks! The mylar is softer and thinner, so you can't dig as deep with your needle, but it sure is fun to make curvy, drawn, sketchbook-style lines on the mylar. Happy printing!
This is a great technique! I really do love the things you post ...Now I just have to work out what mylar actually is... I've been using plastic from a folder because it's shiny but you're saying you need to use a matte surface? I bet I can find something I can use at home or that I can buy anywhere. Also, I've been transferring images to the shiny surface by printing an image on an ink-jet printer directly onto the backing paper of labels (I took the labels off) and smearing wood glue on the surface and then applying the paper. It means I often have to scratch off the ink when doing the engraving, but that's how I made the first perspex engraving so it works. Thanks again for these great films.
I'm wondering if you can use the pattern shirt stamp process to make an oil-loving relief print area? It would mix a litho relief process on a dryoint etching. I love the use of thin mylar for drypoints. I've done lots of drypoints on plastic but never mylar. I can't wait to try. Thanks for posting.
Hi Cheryl, Yes, it can be printed with a spoon back, but the more detail and line work, and the bigger the print, the more challenging the transfer. Rubbing moves the paper, especially if it’s been dampened, so it’s difficult to get control on your line work. If your print is small, and there’s limited detail, it’s easier to accomplish: ruclips.net/video/86nRWW4PV9M/видео.htmlsi=TWF9XyOriin2LfMt Thanks for your feedback. :)
Hi Belinda; Thanks the prompt response. I am using an Akua tartalan and graffix matte duralar. Thinking about it though, it may be the transparent additive making the ink less opaques so easier to wipe off. I will let you know if results change when I add the transparency. I have some, I had not yet seen your video on my first attempts. Thanks for your time and knowledge
Hi Kathy, Thanks for letting me know the details of your materials. I'm always interested in hearing the particulars of each artist's set up. The results vary dramatically from even tiny differences in ink, viscosity, paper, etc. Please come back and let us know if you get a different result from adding the transparent base, as I'm sure that would be a helpful tip for others too.
I like the color version best;very nice. The blush is something I rarely see now days... In my printmaking class nothing is really said about how much pressure is required to print various things from a variety of matrix'. Did it take extreme pressure to make this very thin piece, even though it had a backing? I thought I would try this on my Sizzix if I can manage to get that special film. Thank you for sharing I enjoyed it very much
Hi daisy3690 - I'm glad you're taking a class; many things about printmaking are best learned by trying with your own hands. Pressure on different printmaking plates is *hugely* varied. It depends on all aspects of the printmaking process: thickness of paper, wet or dry paper, type of ink, relief vs intaglio plate, press blankets, type of press, etc. Before printing any plate, it's best to lay it on the press bed and run it through dry (no ink) so you can adjust and note the exact pressure needed for *that particular plate*. I've never used a Sizzix, so please come back and comment again to tell us if it worked! Good Luck!
Hi Belinda, I’ve been experimenting with different types of plates and dry point. I noticed in your video that you did not use any blankets in your press. Can you tell me the reason for this? Many thanks.
Hi Kay! I would normally use blankets, and I recommend that you use yours too. The footage shows the very first proof print, with folded newsprint instead of blankets - mostly because I was printing relief blocks earlier that day. I did put the blankets back in place to print the remainder of the edition.
Dear Belinda, Thank you Is there any alternative that can be used for a tarlatan to wipe the ink from the plate. I have done an etching on drafting film using Speedball Professional Relief Ink , I wiped out with a newspaper on the first attempt and used a spoon to press the image in. Unfortunately did not work. I then tried using an ordinary cheesecloth but again unfortunately did not work. The ink did not go into the etching. Would you say that the problem is the ink or needing the tarlatan wipe?Am I right in assuming that relief ink is different than etching ink? Your link points to "Akua Wiping Fabric for Cleaning Print Making Plates" which is a polyester based fabric which seems different than a tarlatan? Can this work instead or do I need to use this tarlatan fabric.Can a piece of polyester fabric work instead?
Romel Madray hi there! Bravo on your launch into drypoint! There is indeed a difference between relief ink and intaglio ink, and there are also differences between brands. If you are using the Speedball waterbased relief ink, i would venture a guess that it’s drying before you can get it against the paper. Tarlatan, and akua wiping fabric are the same base cloth (cheese cloth) but with different thread count in the weave, and opposite concentrations in the starch. Traditional tarlatan is starched quite heavily, and akua wiping fabric is soft and pliable. Newspaper works well for wiping, as does rolled phone book pages, and unprinted newsprint, but the ink has to stay wet for the duration of the 1) application, 2) wiping 3) hand transfer process. And you know by now that step 3 can take awhile depending on your plate size and level of detail. Do you have any other ink you can try?
@@bdelpesco Thank you the Speedball Professional Relief Ink is oil based but water miscable(a fancy word for meaning that it can be cleaned off with water). The issue I am handing is at the # 3 hand transfer process, when the ink gets into the etching it does not seem to want to go onto the paper.Note: The ink is going into the etched creases. I am transferring with the paper on the table (at the bottom) and the plastic etching plate on top of the paper and pressing on the back of the etching plate. The transfer pressure is downwards from spoon/glass tumbler to etching plate to paper at the bottom. Does this matter? I tried relief printing with leaves and linocuts with not problem with this Speedball Professional Relief Ink .In your videos you used a press. Does it need to have a lot of pressure to transfer. Next time going to try a rolling pin and will see. Thanks, from what you said it does not seem that I need to buy the Tarlatan, and can use newsprint instead to clean off. Am I correct?
Romel Madray ahhhhhh, there is part of the problem: for intaglio printmaking - when you are printing from the recessed areas of your plate, the plate is laid on the table, etched and inked side UP, then the soaked and blotted paper is laid on top of the inked and wiped plate, and the curved back of a spoon is used on the paper - to push the paper into the recessed lines. Can you visualize that?
Also, Romel, have you seen this video about printing an intaglio print by hand? It's not drafting film - this one is a sheet of plexiglass or acrylic - but the process is the same: ruclips.net/video/4-yjr12LQi0/видео.html
In my first experiments with this the unetched parts of the plate held too much ink, the tarlatan did not pick it up, and I had to clean it up with qtips and water. I used Akua intalgio ink, is the transparency and magma you added lending a release quality? Thanks, these are quite fun.
Hi Kathy, Are you using Duralar Matte Finish drafting film as your plate? The company that makes Duralar (Grafix) sells a couple different versions of the product. The mag mix I used with the akua ink is a stiffener, so the pigments "stick" inside the grooves of the line work while wiping from the surface of the plate, and the transparent base just makes the ink a little more sheer, so they wouldn't affect the way the ink sticks unetched parts of the plate very much. Which type of tarlatan did you use? Akua brand, or stiff, traditional tarlatan? Did you try buffing/polishing the plate with newsprint after the tarlatan? And what kind of paper did you print on? Brand, weight, soaked or unsoaked? I'm glad you're having fun, despite the sticky ink! :)
Sorry, I just looked at the video referenced below on dry point printing without a press. The hardness of the plate seems to allow the spoon to work. Would we have to put a hard backing under the mylar?
Hi mlthomas36 - yes, you'd have to put a hard surface (glass or plexi or a counter top would work) and it might be a good idea to tape/secure the dura-lar in place. You don't want the plate, or the paper to move, even slightly, during the rubbing process. If you give it a go, be sure to share your results! Happy printing!
Hi Andrea - Yes, it's great fun, and I hope you do give it a try. And you should use the felt blanket if you can - mine was being cleaned, otherwise, I would have used it. Thanks for the visit.
hi mlthomas36 - Yes, you could absolutely hand print with a metal spoon. You'd have to secure the paper with no movement to avoid a "fuzzy" imprint, and use a thinner paper with not a lot of stretch when spritzed with water (again, to avoid movement against the plate during your rubbing), but yes, you can hand print.
mlthomas36 - Hi again - there are links to paper in the show more section - you might try the bfk rives, but be sure you get the lightweight (115 or 175 gsm, not the 280 or 300 gsm) if you print my hand, and spray it with water & blot before you lay it on the plate, and then add a layer of newsprint or parchment paper to keep the rives from marring during your rubbing.
+Lianne Ruppel - it really is a versatile support! I hope your students make exciting prints with this process! Be in touch if you have any questions... :)
Hi Concrete Turtle - the plate was re-inked & wiped for each print. The fidelity of the grooves in the Dura-Lar held up well, even under the pressure of the press, so I'm sure I could have printed a larger edition if I wanted to. But, on to the next project... :)
drafting film is one of the most dynamic mediums available today.....I love it!
Hi Christopher - it is a wonderful product, and I think it has many more uses than people realize. How do you use it in your art?
Hi Belinda, thank you for your insight and reply, I use Poyldraw as a surface for acrylic painting, the pigment and binder in the paint (golden paints) has an amazing aesthetic and stable molecular connection. No matter how thin I paint it looks wonderful. I mostly paint spatial Cityscapes with acrylic on linen and occasionally I make abstracts on Polydraw as an unfiltered automatic painting process ( gestural works to counter my technical process of working ). Next year I will be making paintings around 80 x 150cm using Polydraw and layering them with an LED backlight, a bit like layers in Photoshop. Examples can be seen on my instagram page @farrellartist
Thank you for another great video Belinda.
You are so welcome! Thanks, Maggie!
I am new to print making and I am learning so much from you.! Thank you so much for sharing your information. I can’t wait to try all of these things you have a demonstrated. ❤️
Thanks for the great feedback, Karen! I hope your printmaking adventure is a deep dive into hours and hours of respite, creative expression and FUN!
Hi, I found you a long time ago, Belinda, and had forgotten your channel existed. This was a great informative tutorial so thanks very much. Linda x
Hi Linda! Welcome back! I'm glad the tutorial was helpful, and if you bump into any questions as you create a drypoint yourself, don't be afraid to come back here and leave a comment. I'll reply as soon as I can. 😃
Thanks!
Thanks so much for your support, Pat! Happy printmaking to you! 🎉❤🎉
This is amazing, I am going to have to try this, I have just finished my art degree but I want to keep up with my art! I started this channel to keep my creative process flowing and I love finding other artists and tutorials, it's so much fun!
Jodie Dee Webb Thanks for stopping by and congratulations on completing your art degree!
Lovely....I'm just beginning a drypoint on plexiglass...great tip for using mylar drafting sheets. 😍😎💝 Thank you.
Hi Prisilla - Thanks! The mylar is softer and thinner, so you can't dig as deep with your needle, but it sure is fun to make curvy, drawn, sketchbook-style lines on the mylar. Happy printing!
This is a great technique! I really do love the things you post ...Now I just have to work out what mylar actually is... I've been using plastic from a folder because it's shiny but you're saying you need to use a matte surface? I bet I can find something I can use at home or that I can buy anywhere. Also, I've been transferring images to the shiny surface by printing an image on an ink-jet printer directly onto the backing paper of labels (I took the labels off) and smearing wood glue on the surface and then applying the paper. It means I often have to scratch off the ink when doing the engraving, but that's how I made the first perspex engraving so it works. Thanks again for these great films.
Hi Zachar, shiny folders work fine. No need to seek matte-finish, unless you want to experiment between the two.
I hope I don't sound too "stalker-y", but as a newbie your videos are so very helpful!! Thanks so much for the great ideas! :D
Enthusiasm is never confused with stalkery! :) I'm glad the ideas are helpful, and I look forward to seeing the fruits of your experiments!
I'm wondering if you can use the pattern shirt stamp process to make an oil-loving relief print area? It would mix a litho relief process on a dryoint etching. I love the use of thin mylar for drypoints. I've done lots of drypoints on plastic but never mylar. I can't wait to try. Thanks for posting.
Another terrific print making tutorial! Could this print be hand printed with a spoon back?
Hi Cheryl, Yes, it can be printed with a spoon back, but the more detail and line work, and the bigger the print, the more challenging the transfer. Rubbing moves the paper, especially if it’s been dampened, so it’s difficult to get control on your line work. If your print is small, and there’s limited detail, it’s easier to accomplish: ruclips.net/video/86nRWW4PV9M/видео.htmlsi=TWF9XyOriin2LfMt Thanks for your feedback. :)
Hi Belinda; Thanks the prompt response. I am using an Akua tartalan and graffix matte duralar. Thinking about it though, it may be the transparent additive making the ink less opaques so easier to wipe off. I will let you know if results change when I add the transparency. I have some, I had not yet seen your video on my first attempts. Thanks for your time and knowledge
Hi Kathy, Thanks for letting me know the details of your materials. I'm always interested in hearing the particulars of each artist's set up. The results vary dramatically from even tiny differences in ink, viscosity, paper, etc. Please come back and let us know if you get a different result from adding the transparent base, as I'm sure that would be a helpful tip for others too.
Love it Berlinda!!!
Thanks for visiting, Mona!
I like the color version best;very nice. The blush is something I rarely see now days...
In my printmaking class nothing is really said about how much pressure is required to print various things from a variety of matrix'. Did it take extreme pressure to make this very thin piece, even though it had a backing? I thought I would try this on my Sizzix if I can manage to get that special film. Thank you for sharing I enjoyed it very much
Hi daisy3690 - I'm glad you're taking a class; many things about printmaking are best learned by trying with your own hands. Pressure on different printmaking plates is *hugely* varied. It depends on all aspects of the printmaking process: thickness of paper, wet or dry paper, type of ink, relief vs intaglio plate, press blankets, type of press, etc. Before printing any plate, it's best to lay it on the press bed and run it through dry (no ink) so you can adjust and note the exact pressure needed for *that particular plate*. I've never used a Sizzix, so please come back and comment again to tell us if it worked! Good Luck!
Thank you for all of the good insights. I'll let you know about the Sizzix experiment when I get up my nerve : ) . Bye now
Hi Belinda, I’ve been experimenting with different types of plates and dry point. I noticed in your video that you did not use any blankets in your press. Can you tell me the reason for this? Many thanks.
Hi Kay! I would normally use blankets, and I recommend that you use yours too. The footage shows the very first proof print, with folded newsprint instead of blankets - mostly because I was printing relief blocks earlier that day. I did put the blankets back in place to print the remainder of the edition.
Dear Belinda, Thank you Is there any alternative that can be used for a tarlatan to wipe the ink from the plate. I have done an etching on drafting film using Speedball Professional Relief Ink
, I wiped out with a newspaper on the first attempt and used a spoon to press the image in. Unfortunately did not work. I then tried using an ordinary cheesecloth but again unfortunately did not work. The ink did not go into the etching. Would you say that the problem is the ink or needing the tarlatan wipe?Am I right in assuming that relief ink is different than etching ink? Your link points to "Akua Wiping Fabric for Cleaning Print Making Plates" which is a polyester based fabric which seems different than a tarlatan? Can this work instead or do I need to use this tarlatan fabric.Can a piece of polyester fabric work instead?
Romel Madray hi there! Bravo on your launch into drypoint! There is indeed a difference between relief ink and intaglio ink, and there are also differences between brands. If you are using the Speedball waterbased relief ink, i would venture a guess that it’s drying before you can get it against the paper.
Tarlatan, and akua wiping fabric are the same base cloth (cheese cloth) but with different thread count in the weave, and opposite concentrations in the starch. Traditional tarlatan is starched quite heavily, and akua wiping fabric is soft and pliable. Newspaper works well for wiping, as does rolled phone book pages, and unprinted newsprint, but the ink has to stay wet for the duration of the 1) application, 2) wiping 3) hand transfer process. And you know by now that step 3 can take awhile depending on your plate size and level of detail. Do you have any other ink you can try?
@@bdelpesco Thank you the Speedball Professional Relief Ink
is oil based but water miscable(a fancy word for meaning that it can be cleaned off with water). The issue I am handing is at the # 3 hand transfer process, when the ink gets into the etching it does not seem to want to go onto the paper.Note: The ink is going into the etched creases.
I am transferring with the paper on the table (at the bottom) and the plastic etching plate on top of the paper and pressing on the back of the etching plate. The transfer pressure is downwards from spoon/glass tumbler to etching plate to paper at the bottom. Does this matter? I tried relief printing with leaves and linocuts with not problem with this Speedball Professional Relief Ink
.In your videos you used a press. Does it need to have a lot of pressure to transfer. Next time going to try a rolling pin and will see.
Thanks, from what you said it does not seem that I need to buy the Tarlatan, and can use newsprint instead to clean off. Am I correct?
Romel Madray ahhhhhh, there is part of the problem: for intaglio printmaking - when you are printing from the recessed areas of your plate, the plate is laid on the table, etched and inked side UP, then the soaked and blotted paper is laid on top of the inked and wiped plate, and the curved back of a spoon is used on the paper - to push the paper into the recessed lines. Can you visualize that?
Also, Romel, have you seen this video about printing an intaglio print by hand? It's not drafting film - this one is a sheet of plexiglass or acrylic - but the process is the same: ruclips.net/video/4-yjr12LQi0/видео.html
Wowed! Again super!
Thanks for your kindness! :)
In my first experiments with this the unetched parts of the plate held too much ink, the tarlatan did not pick it up, and I had to clean it up with qtips and water. I used Akua intalgio ink, is the transparency and magma you added lending a release quality? Thanks, these are quite fun.
Hi Kathy, Are you using Duralar Matte Finish drafting film as your plate? The company that makes Duralar (Grafix) sells a couple different versions of the product.
The mag mix I used with the akua ink is a stiffener, so the pigments "stick" inside the grooves of the line work while wiping from the surface of the plate, and the transparent base just makes the ink a little more sheer, so they wouldn't affect the way the ink sticks unetched parts of the plate very much.
Which type of tarlatan did you use? Akua brand, or stiff, traditional tarlatan?
Did you try buffing/polishing the plate with newsprint after the tarlatan?
And what kind of paper did you print on? Brand, weight, soaked or unsoaked?
I'm glad you're having fun, despite the sticky ink! :)
Sorry, I just looked at the video referenced below on dry point printing without a press.
The hardness of the plate seems to allow the spoon to work. Would we have to put a hard backing under the mylar?
Hi mlthomas36 - yes, you'd have to put a hard surface (glass or plexi or a counter top would work) and it might be a good idea to tape/secure the dura-lar in place. You don't want the plate, or the paper to move, even slightly, during the rubbing process. If you give it a go, be sure to share your results! Happy printing!
Nice tip, I will use for sure :)...I wonder why didn't you use the "felt blanket" (fieltro), with this technique is not necessary? Thanks!
Hi Andrea - Yes, it's great fun, and I hope you do give it a try. And you should use the felt blanket if you can - mine was being cleaned, otherwise, I would have used it. Thanks for the visit.
I really enjoyed this. Do you think I could get enough pressure to transfer the ink using a stainless steel spoon?
hi mlthomas36 - Yes, you could absolutely hand print with a metal spoon. You'd have to secure the paper with no movement to avoid a "fuzzy" imprint, and use a thinner paper with not a lot of stretch when spritzed with water (again, to avoid movement against the plate during your rubbing), but yes, you can hand print.
Belinda Del Pesco Hi Belinda, what weight paper (gsm) would you recommend? I will order the necessary things from your "show more" list. Thanks Mike
mlthomas36 - Hi again - there are links to paper in the show more section - you might try the bfk rives, but be sure you get the lightweight (115 or 175 gsm, not the 280 or 300 gsm) if you print my hand, and spray it with water & blot before you lay it on the plate, and then add a layer of newsprint or parchment paper to keep the rives from marring during your rubbing.
Is there ANYTHING you cannot do with matte finish duralar? This was fabulous. Thank you. My students can do this.
+Lianne Ruppel - it really is a versatile support! I hope your students make exciting prints with this process! Be in touch if you have any questions... :)
Muito belo parabéns!!
Obrigado pela sua gentileza!
Was the edition of five made from the one inking? or was the plate re-inked. I'm guessing....re-inked?
Hi Concrete Turtle - the plate was re-inked & wiped for each print. The fidelity of the grooves in the Dura-Lar held up well, even under the pressure of the press, so I'm sure I could have printed a larger edition if I wanted to. But, on to the next project... :)
Great. Thanks!
Awesome! :-)
Thanks, Tigran Khashmanyan :D
It watching this video isn't therapeutic I don't know what else is.
Thanks, Elvina! I'm glad you enjoyed the video, and I hope you're inspired to make something soon!