Printing Workshop

- December 11, 2022

On December 2nd and 8th I was able to do the introductory workshop for the Printing Studio. It was scheduled for December 2nd & 16th (two full days) but as I had a medical appointment on the 16th, I was able to arrange to go in the afternoon of the 8th. Helen ran me though a quick demo and then I tried monoprinting (and I am now totally jealous the rest of the group get to do it for a full-day!)

I had done some linocuts in the past (ancient past) but the rest was generally new to me.

This is a linocut I did in high school - it made it into the annual yearbook, which is the only record I have of it. That was back before we carried cameras around with us everywhere! And, of course, they spelled my name wrong as always.

This first session was an introduction to Relief and Intaglio. Relief is linocut, woodcut and wood engraving. We were given various materials/techniques to try.

We did two linocuts to experiment with - the large was to play around with different ways of mark making with the tools. I didn't bother keeping the results of that print.

Then we did the Intaglio, which is dry point, etching and mezzotint. We messed around doing dry point - marking surfaces with sharp tools. I didn't enjoy that as it was too painful for me. I can't grip or press too hard due to RSI and arthritis in my hands/wrists. I did attempt to print my three tries using different surfaces but they were crap, so tossed them.

Then we did an etching on copper using a ground, and then making some marks with a tool as well. The plate was interesting, the results were not. Apparently I'd wiped off too much of the ink, but I wasn't interested in trying it again.

Helen explained Collagraph to us, but no one seemed keen to try it, at least in the workshop. I might give it a go at some point, as it would seem to be a similar process to the monoprint (preparation wise - cutting out cardstock, etc. to build up layers before printing) which is more appealing to me. There are differences but, I can see some potential.

Then Helen did a one-on-one with me showing planographic monoprints. Now THIS I enjoyed immensely. And I will definitely be exploring it in the future.

The stress is on "loosening expectations, into spontaneous creative work"... well, sure. I prefer planning things, and then going with where that takes me as I work on it. But this method absolutely does encourage experimentation as you work with the plate and layers on the press.

Helen told me I "have a flair for it" which I was gratified to hear, as I'd been so disappointed with the other methods.

After her demonstration I immediately cut out a selection of leaf shapes and got to work. I used the two colours that Helen has used for her demo (red and dark yellow) and also some phthalo green (did a little colour blending to get shades of green.)

You ink up a metal plate with the base colour, then ink up your bits and put them on top of the plate. Then you run it through the press (which killed my elbow - it still hurts three days later.)

After the first press, the next five all involved removing, re-adding and turning over the pieces to get different marks. I have to say it was extremely satisfying. The white outlines and the ghost images are fascinating to me. I can see where this will be a lot more spontaneous for me to work with.

I can get the general imagery or mood I want, and then as the process flows into actual pressing it changes. I can see a lot of possibilities in this. Also the potential for mixing colours on the plate to get patterns and ombré effects.

While talking to a friend she suggested I look at Sybil Archibald's work. Wow, this medium has a lot of scope! I'm now going to dive into searching out monoprint artists to see what can be done and ways I can experiment.

Here are the six pressings I did off the one inking, in order. I saved the bits so might go at it again with a different colour palette to see what happens.