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MONOTYPE
PRINTS I
first started creating monotype prints after reading Julia
Ayers’ seminal book, Monotype: Mediums and Methods
for Painterly Printmaking. A monotype print is created
by simply painting with ink or paint directly onto a plain,
flat plate in the same way that one would create a painting
on canvas or paper. Once the image is developed, it is then
transferred by laying a sheet of moistened paper over the
plate and either running the plate through a press, or hand-rubbing
the back of the paper with a baren or the back of a wooden
spoon. |
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INTAGLIO
PRINTS Intaglio
includes any technique in which material is removed from the
plate, usually by etching in an acid solution, forming an
image. When the plate is inked, the ink is loaded into the
etched depressions on the plate and the non-etched areas are
wiped clean. In order to print the image, moistened paper
is placed atop the plate and run through a press under high
pressure. This forces the paper into the ink-filled etched
areas of the plate, thus transferring the image to the paper. |
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PRINTS The
technique of relief printing is similar to intaglio in that
an image is cut into the plate material, in this case, usually
wood or linoleum using a sharp knife or special tool created
for that purpose. Then, once the image is completed, the uncut,
raised portions of the plate are inked and the image is transferred
to paper using a press or a hand-transfer method. The traditional
method of Japanese block printing is an example of this technique. |
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CHINE
COLLE Chine
Collé is a technique that incorporates collage into printmaking.
Generally, the image is developed on the plate in the usual
way for the technique being employed. As the image is created,
the backside of each collage component—paper, cloth or
other materials—is coated with a thin layer of glue and
placed face-down on the developed image on the plate. Then,
a sheet of dry paper is placed over the plate. Passing the plate-paper
sandwich through a press transfers the collaged image. Hand-transferring
of chine collé images is not practical, as the pressure
from a press ensures that the collaged pieces are securely affixed
to the paper. Also, note that collaged images are transferred
to dry, not moistened, paper to allow the glue to properly set. |
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LETTERPRESS
I
got involved in letterpress in 2004 as a means of expanding
my study of type and typography. In letterpress printing,
lead or wooden type elements—literally, individual letters
or words cast in metal or carved from wood—are set in
the bed of the press, along with relief images. The type is
inked with a roller, then a sheet of paper is fed between
the inked type and a second roller to affect the image transfer.
As a printing technique, letterpress is antique compared to
modern offset printing and not really practical for mass production
of printed material. Yet, as an art medium, letterpress offers
a degree of control in creating images that is just not attainable
through inkjet or offset printing. |
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GRAPE
LEAF PRESS BOOKS I
started making books in 2004 while volunteering at the Chicago
Center for Book & Paper Arts at Columbia College. As part
of my volunteer service, I was asked to complete a project
started by another, which was to bind a quantity of address
books that were to be given as thank-you gifts to cash donors
to the Center. I made about one hundred books for this project.
Since then, I have added a series of blank journals/sketchbooks
to my offerings. I can also design and produce custom-made
books to your specifications. All of these books are entirely
handmade from the highest quality components available. |
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