Expressive Printmaking A Creative Guide – Mary Dalton (1)

The completed impression showcasing an array of litho marks. Place dry lightweight Japanese paper onto the inked surface. Using a hand printing barren, apply even pressure all over. Pulling back the hand-printed impression reveals the result. Results from Hand Printing and by Press The results clearly show the difference in quality and expression of marks produced from the press and by hand. It is easy to say that the one printed under the press is stronger, but that is not always true.

Hand printing allows the artist to apply pressure at different levels across the matrix, giving more control in the resultant impression. It can create a very atmospheric print and means that you are not dictated in scale by the size of your press bed. Choose when to use each method and why. The traditional lithographic tools used in a standard manner will produce quite predictable results. This is not a negative thing, just a predictable one. A crayon mark will probably, if etched and printed well, look like a crayon mark.

There are a few ways to approach the grease-based mark-making that can be slightly more experimental. I have printed a tester piece demonstrating a few such examples. It has been created on a birch ply matrix and printed under an etching press on smooth Zerkall paper. Ink Transfer The ink transfer techniques played with in earlier chapters can be used in reverse to apply ink to the Mokulito plate as opposed to the paper. The results are very beautiful and open up a wealth of spontaneous autographic mark-making, which sits in beautiful dialogue with the more graphic wood grain of the Mokulito plate.

An impression created using a few alternative techniques. Apply a thin layer of oil-based ink to medium-weight paper. Tape one side of the paper gently in position, ink side down. Use various tools as described in Chapter 3 to create marks. Carefully peel back the inked paper; it can be reused again. Tape the image down, toner facing down, and brush on acetone. Acetone Transfer The toner from laser jet printers or some old photocopiers is a grease-based toner.

This can be utilized in lithography.

This e-book first published in 2022 © Mary Dalton 2022 All rights reserved. This e-book is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law.

Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights, and those responsible may be liable in law accordingly. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN 978 0 7198 4104 0 Cover design: Sergey Tsvetkov OceanofPDF.com 1 2 3 4 5 6 7 8 9 10 CONTENTS Introduction Getting Started with Ink Relief Work: Vegetable Stamping and Beyond Spontaneous Monochromes in a Single Pull Expressive Paper Dry-Point Mokulito Lithino Collage in Printmaking Inks and Colour Effects Celebrating the Unique: Print Beyond Paper Workshop Basics Stockists and Resources Index OceanofPDF.com W INTRODUCTION hat do you think about when I say ‘printmaking’?

Perhaps some old lino that was reluctantly carved into many years ago? Perhaps this old lino was actually cracking and smelt slightly odd? Perhaps you think of screen-printed t-shirt designs or lots of small businesses hand printing greetings cards? Most likely there will be some notion of being able to create more than one of the same image, what we refer to as an edition.

Printmaking has many images and stereotypes amongst the general population who are interested in the arts. It sits on a very perilous fence between drawing and applied art, painting and craft, digital and handmade, reproduction and unique. It seems not to have its own category, something that may seem at first confusing, but actually it means it can be anything you want it to be. And isn’t that glorious? This book will take you on a journey through the more dynamic approaches to learning the techniques of printmaking so that it can be moulded into your own language.

We will look briefly at editioning, but it will not be the focus or the main event because art is unique. This includes printmaking. It has so much potential that I only begin to explore in the following chapters, so many ways of communicating feeling; the textures and forms of the printed impression sing so loudly that words and editions are not needed. Treat this book as your guide: a way to explore these unique and dynamic ways of working whilst being given permission to let loose.

Whilst you have a supportive ear, you can try out new approaches with energy and vigour knowing questions will be listened to and answered. This book leads you down a path towards understanding printmaking as an art form unlike any other and as unique as them all.

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.

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