Dry Point, Collograph & Lino cuts.

Over the past few lessons we have been shown how to produce 3 more different types of prints using the workshop. 

The first was dry point. I already knew how to produce dry points due to studying my foundation course at DMU. However it was helpful to refresh my mind on the process. Dry Points can be created using various materials; metal plates, acetate and even thin cardboard sheets (takeaway pot covers are good for this). The first print was created using a small square metal plate which had to first be polished to give a fresh clean surface to work from and also it had to be sanded down to curve the sharp corners. If the corners were not smoothed out then they would tare the paper when sent through the roller machine. After preparing the metal plate you then scratch your design into the surface. Once you have finished this you then use blank ink to cover the whole plate making sure the ink has gone inside the lines you have created. After this, using a material called scrimp you rub off the ink which is not inside the small lines. After you have removed what you can you finally use some paper to get off any extra ink that wasn't taken off with the scrimp. Your plate is now ready to print with, however first you need to soak your paper. Once this has been done and the paper has been blotted you can send your print through the press. You can continue to print with the plate, you do not have to use black ink you can use any colour. 




(Untitled, dry Point using metal plate, black ink, 6cm x 6cm)

Like the metal sheet the same process applies with the other materials like acetate and card, however these surfaces do not need to be cleaned first. You can use many things to scratch into the surface like dry point and etching tools and also sand paper. With dry points after preparing your printing plate the key thing is to always remember to soak your paper before hand. This helps to pick up the ink from the scratches made. 


(Untitled, dry point using card board, coloured ink, approx A5)

This next print technique demonstrated to us was collographs. In its most simple definition collographs are a form of relief printing. They are created by either marking the surface or sticking things onto the surface (usually a piece of card). You can stick a variety of things onto the surface like sand, leaves, paper and fabric. Once you have created your  design you then seal the surface using either a varnish or form of lacquer. Once this has completely dried, like the dry point process you then ink up the surface and the remove the ink but this time instead of using scrimp you can use scrap fabric and gently rub off the ink, otherwise you may risk rubbing off some of your relief textures depending what they are and how well they have been glued down. You take off the excess ink until it is no longer shiny. Your collograph is now ready but again you must soak your paper first before printing. You can continue to use your print as many times as you wish. 


(Untitled, collograph, A5)


(Untitled, coloured collograph print, A5)



(Untitled, collograph print using only black ink, A5)

Next we were introduced to lino cut printing. This again is a form of print which involves you marking the surface you will print with. You begin by getting a piece of lino and drawing on your design firstly in pencil and then again in pen so that it wont rub off when you need to repeat the print. You then draw out a template of your piece of lino onto a plain piece of paper which will end up acting as your guide when it comes to printing. Once you have the design/ drawing you want and you have your guideline you then begin by cutting out the parts that you want to be left completely white, untouched by ink. The next stage involves you rolling out the colour you want to use for the first layer. With lino prints, the trick is to start with the lightest colours and get darker. Once the lino is ready and inked up you can send it through the pressing machine making sure you place it carefully onto the guideline you made previously. Below is my beginning print, as you can see the parts I have cut out are white and these will remain so throughout the process. 


(Untitled, print no.1 of my lino cut, A5)

After completing this first stage you wipe off the ink on the lino. You can then begin to cut out the next layer of the drawing which will remain as the first colour you used. Once ready you can now roll out your next colour that you wish to print with to form the second layer. Like before you then print with this making sure that you follow the guidelines so that you are printing on top of your previous print in the correct position. You can continue this process as many times as you wish, removing the next layer of lino and changing the colour, making sure to follow the guidelines of your template until your design is complete. This process is a very long one which involves a lot of patience. I found it quite enjoyable it was almost therapeutic.


(Untitled, print no.2, A5)
The print above appears blotchy and this is due to there not being enough presser applied when sending it through the machine. This can be solved by either sending it through again or asking for the technician to renew the paper used to apply the pressure. As you can see below, the third print is a lot stronger due to there being the correct amount of pressure in the press. 



(Untitled, print no.3, A5)