monotype print

Have you used Tyvek® to make stencils for your gelatin printing projects?

I am excited to introduce you to the benefits of Tyvek® as stencil material, in this weekend workshop, Hand Printed Cards.

Why Tyvek® for stencil making?

Tyvek® is strong, durable and waterproof. These are great qualities for stencil material. It is also easy to cut.

You can find Tyvek®:

• recycle Tyvek® envelopes
• purchase Tyvek® from Material Concepts
• Try Jam paper from – Staples
• “dumpster dive” at a local building site for scraps of house wrap

If you want to be inspired by a cut paper artist who uses Tyvek® – then check out the work of Beatric Coron.

What kind of stencil is it?

I have a special name for this kind of stencil – “a masking stencil with a frame.” I use these descriptive words to distinguish the stencil and the way that I use it to create a beautiful, multi-colored image.

My approach to printing with these stencils includes using the gelatin plate, which is soft and malleable and can transfer delicate details to the paper.

In the image above the lucious black in is under the stencil and the background colors are rolled over the stencil.

The thing that I love about the combination of the Tyvek® stencil, the gelatin plate and the speedball water based block printing ink is that it is very easy to make many beautiful, clean edged, completed prints very fast.

So if this sound interesting to you, then check out the details and join us in the online printmaking workshop, Hand Printed Cards + Tyvek® stencils + gelatin plate. Read the details on the workshop page.

• Hand Printed Cards Class
• Online printing workshop
• November 2,  3, and 4, 2018
• $50.00
• Register on the workshop page

I have used processes that allow me to print in a small studio without a press, using non-toxic materials.

Now I am thinking about printing “BIG.”

That big is a relative term. I still have to be able to fit these prints on my table and use most of the tools that I already have. So for me, BIG is about 16″ x 20″

I am going to use the paper that I have in my studio, some mixed media paper, bristol, watercolor and printmaking papers. No need to keep saving these papers for a special project.

I chose 16″ x 20″ because it is still relatively easy to frame.

I made a few prints with a bunch of foam printing plates that I have and I was pleasantly surprised.

Stay tuned as the adventure into printing Bigger continues.

Often the image you are creating in a printing process is backwards than what you might expect.

As you can see above the foam printing plate on the left is a reverse image of the actual print on the right. This ability to reverse images takes time to learn and get use to.

If designs are abstract or symmetrical, sometimes it does not matter if the image get reversed. It is important to reverse words and images that are familiar to you like portraits.

self-portrait

My style of printmaking is exploratory and experimental. But I do think that I have printed so much that I now know that things get reversed and I compensate for that element of the printing process. Often the reversal is not a big deal for me either.

I like to work freely, without too much restriction or planning. I think that is how I discover new approaches and combinations of techniques. Collage and cropping are good ways to “finish” prints into framable pieces of art.

Another “backwards” way I work is to cut paper to the size of frames that I already have. Or to work on paper that fits into standard size frames. That way it is super easy to pop the print into an affordable frame and admire my work.

The next class is Soft Plate Relief Printing. Check out the details on the workshop page. This online class starts soon and includes 6 short actionable lessons spread over a 10 day period.

Long before I became aware of print day in May, I had planned to take a Marbleizing paper class with Cynthia McGuirl.  And I am so happy that I did.

Her beautiful studio is in Thomaston, Maine, which is about 3 hours north of where I live. But is was a lovely day for a drive. Cynthia had prepared at least 8 varieties of paper with alum so they would be ready for printing. She made a water and methyl cellulose bath as the printing surface. And every color in the rainbow of paint for making “modern” marbleized paper.

We experimented and printed for hours.

The process is very addictive. It is so easy to learn form one print and say, “just one more” And the one more, and one more and before you know it the whole day has passed.

I like the non-traditional shapes and big patterns. But it is hard to just stop dropping more paint on the surface.

We used big and little eye droppers, fan brush and pointy sticks and straws to move the paint around the surface.

Now the challenge may be what to do with some of these prints and papers. For now I am just going to admire them.

So if you are intrigued by this experimental printing process then check out Cynthia’s website and workshop schedule. She hopes to offer this class again this year.

Do you have plans for May 5th?

Join the global celebration of printmaking.

Please share your work and help spread the word by through Facebook, Instagram or Twitter with the hashtags #printdayinmay or #printdayinmay2018.

Please visit us on Social Media:

Facebook Group here

Facebook –@printdayinmay
Instagram– @printdayinmay
Twitter– @printdayinmay

What will you be printing? I am not sure but I am excited about the day. Share this info with all of your printmaking friends.