Printing Processes

Relief Process

This technique involves craving into wood or linoleum so that when ink is applied, the carved areas show up as white space and can either haver grain texture or be a flat black. This skill is needed to easily replicate images with texture or not, and can be used by anyone if not doing it by press when one has a baren. First, you begin by prepping the object with ink so that you may have a background to tell what is happening. Then you transfer the drawing onto the wood, and either use black line or white line composition to create depth. Once the image is cut into the block, it is ready for ink to be rolled over the surface, then put onto a press to transfer the design to paper.  With linoleum, you can use a marker to draw onto the block, and then carve the soft material out, and with this medium, the black is very flat and has no wood grain texture.

Intaglio Process

This technique involves scratching or moving of material on a flat plate, such as copper, to create wells for the ink to settle in. This is a direct opposite to the process above, but is also used to mass produce items, but would be less common as it required access to metals so more popular artists would use this method. You begin by using a variety of tools to create texture on a surface into your desired design. Then, you must soak the plate, wash it, and soak it once more. Once this is completed, you polish and clean it to begin etching, which begins by preparing the ground. Then, you smoke it to create a black surface, and scratch the ground off to reveal the copper beneath. The plate is then put into acid to create the spots for ink to sink into, and is then cleaned for printing. First, you must put ink along the surface then wipe off the excess. A dampened piece of paper is laid on top, then felt is rolled over the sheet and paper to transfer the image.

Lithography Process

This technique involves using a lithographic stone that is both receptive to water and grease, so the grease is the drawing that can be removed with various items, and this printing type is very delicate with its surface. This would be used for printing posters and other pages requiring words, and would be used for those in the writing or news business. The grease is made with either lithopencils or lithocrayons, and is done directly onto the stone. There is a first etch, then rosin and gum arabic is applied to the drawing. TAPEM is applied next to help keep the gum to the stone, and the gum itself is added again, and the whole drawing is buffed. A greasy solvent is placed upon the drawing, making it "disappear," to act as a base for the ink, which is applied after wetting the surface. For printing, ink is first forced into the crevices, and this is down multiple times to gather a full print from the stone, but this also creates a realistic look of each newsprint being hand drawn.

Summary

The printing process I would like to attempt the most is Relief. I feel as though this would be the easiest one to do in a school setting since we don't need a press to do it. Also, I have always wanted to do wood carvings since I tend to be a very nature centered person. I think these older printing processes have affected contemporary designers by allowing there to be ways to print cheaply and have the methods be widely available. Also, this allowed for us to mass produce designs, such as t-shirts, and not create the same thing over and over. Overall, it allowed for more colors and mediums to be introduced into printing, and made the printing itself more commonplace for artists.