How To Print A Collagraph Plate Using Relief and Intaglio Techniques

Описание: 00:01 - Techniques: Engraving, Etching, Dry-Point & More
00:08 - Using Etching Ink for Collagraph Plates
00:17 - Understanding Intaglio Printmaking
00:22 - Preparing Your Ink and Roller
00:29 - Rolling Ink for Relief Printing
01:01 - How to Check Ink Texture on the Roller
01:07 - Inking the Block: Techniques & Tips
01:16 - Pressing Techniques for Clean Transfers
01:41 - Setting Up the Press for Printing
02:03 - Adjusting the Roller for Even Pressure
02:24 - Final Outcome: First Print Reveal
02:28 - Printing Calligraphy Plates with Etching Ink
02:49 - Inking and Wiping Techniques with Scrim
03:18 - Preparing the Press Bed for Printing
03:41 - Running the Plate Through the Press
03:49 - Checking Your Print: First Pass
04:02 - Removing Excess Ink & Reprinting
04:07 - Second Print Run
04:22 - Second Outcome
04:30 - Final Print: Third Press Run
04:45 - The Creative Process of Intaglio Printing
05:02 - Final Thoughts on Print Quality and Techniques

Etching ink can be used for engraving, etching, dry-point, mezzotint, and aquatint printmaking techniques.

Etching ink is also used to print collagraph plates.

Collagraph generally comes under the intaglio umbrella of printmaking techniques.

Spread ink to the width of your roller, creating a reservoir.

Dip your ink roller into the reservoir and start rolling it out in the space below.

Move the ink roller forward with slight downward pressure, then lift it back to the start and repeat.

A relief print can be produced from any material that has a raised surface, flat enough to hold ink, and strong enough to endure the pressure necessary to transfer the inked image onto the surface.

Traditionally, relief prints are created using a block of wood or linoleum.

Once the ink is evenly spread on the roller, look to see if you have the right amount of ink.

If there is too much ink on the roller, it will take on an orange peel texture.

There should be a slight texture to the ink like sandpaper.

Roll the ink gently onto the block.

The ink will lay down on the highest areas and leave the lower areas untouched.

Roll in different directions to cover all corners.

Recharge the roller with more ink if needed.

You will need to press quite hard to transfer the ink.

Place a prepared registration sheet on the bed of the press over a clean sheet of newsprint paper.

Next, carefully place the inked plate in place.

Lay the printing paper in place.

Place a piece of newsprint over the back of the printing paper to protect and keep it clean.

The block is then run through the press under two blankets.

When adjusting the top roller, always try to lift or lower both sides simultaneously, keeping the roller level as it moves up or down.

This will prevent too much force being applied to the roller bearings.

Here is my final outcome.

Etching ink is also used to print collagraph plates.

A generous quantity of ink is taken and pressed into the recesses using a piece of card.

The fabric is folded into a form, a comfortable pad held in the palm of the hand.

The heavy coating of ink is first removed by lifting off with scrim.

Wipe the plate in a circular motion all over the whole area.

This ensures the wiping is even all over the surface.

Place a prepared registration sheet on the bed of the press over a clean sheet of newsprint paper.

Next, carefully place the inked plate in place.

Lay the printing paper in place.

Place a piece of newsprint over the back of the printing paper to protect and keep it clean.

The block is then run through the press under two blankets.

The bed is wound through the press.

Check your progress by lifting the paper.

If your print has too much ink on it, you will need to remove another layer of excess ink with scrim and reprint the plate again.

The plate is run through the press for a second time.

Check your progress by lifting the paper.

If your print still has too much ink on it, you will need to remove another layer of excess ink with scrim and reprint the plate again.

The plate is run through the press for a third and final time.

The finished intaglio image is the result of two distinct steps: the establishment of the image on the plate and the transference of the image from the plate to the paper.

The printing of the image is as creative a process as the making of the plate.

The variables are considerable, and the quality of the print can be extremely diverse, depending on the method of printing that is chosen.