techniques

Gelatin printmaking is a monotype process that is part planning and part happy accidents. The prints are truly one of a kind impressions.

My approach to gelatin plate printing is to print a lot so I can figure out what types of marks are possible. Then I try to combine certain kinds of marks to make dynamic and unique prints.

Even after all these years, I can end up with happy surprises. I used some planning to create the dark blue female figure and was pleased with how the orange and blue edge lined up on the right. I like how the plate ink makes the left side a bit less bright.

This one started as a series of brayered on geometric shapes with the idea of leaving some white on the paper. I did a little planning around framing up the grass element and was pleasantly surprised how the bold shapes and delicate impression combine to create a dynamic image.

This fern print was mostly planned and yet the elements of serendipity are the tiny white dots that run through the print. These are created by small holes in my gelatin plate. As the homemade gelatin and glycerin plate ages little defects can appear in the surface of the plate. I happen to love those defects.

This type of learning to plan our printed marks and support serendipity with new understanding is the approach we will be taking in my online printmaking classes. Check out the current workshops.

 

I spent the day making collagraph/intaglio plates with the Tetra Pak packaging.

Those are the plates above. The inside of the package is sliver and slippery. I drew lines with an etching needle and cut away the sliver layer and pulled it off to get the solid black areas.

I played with discovering the kind of marks that I like. I did print this leaf as a line drawing first and the pulled off the background to make the bold shape print.

I folded the packaging to create the creases in the funky print below.

I am loving the bold shapes and strong black impressions created by removing the sliver layer of the tetra pak.

I used Akua Intaglio inks and Arnhem 1618 printmaking paper.

I reworked the plates as I went along. I could cut the plate or cut away more as I went along.

I cut off the top and bottom of the plate and reoriented the print and it made a big difference. I love learning new approaches and techniques.

 

I found a tutorial and another here on Tetra Pak Collograph/Intaglio. I did some more searching online about the process and just had to give it a try.

Tetra Pak is a composite packaging system. I found broth, soups, milks, and juices at the grocery store and even some things at the Dollar Tree store.

So emptied and rinsed the containers and cut them apart. One of the things that I love about these style of prints it that the folds in the package can be part of the print.

I quickly made some line marks with an etching needle and used Akua Intaglio ink to ink the plate.

Above you can see the test prints and marks. To get bold black area, I cut into the silver layer of the package and removed it, leaving soft paper surface that holds a lot of ink.

I used my little Xpress Xcut embossing machine to print the plate. It was a fun process to try. But I was reminded why I prefer to use water based inks and print without a press.

The process is messy, slow and I have to wear gloves and try to be neat.

I think I will try it again, when I have a good image for the process.

See more Tetra Pak Prints by other artists on my Printmaking Inspiration Board on Pinterest.

Fun to do these tiny paintings that are inspired by a walk in the woods. I was amazed that I was able to capture some of the energy of the woods in such a small sketch.

Can you tell:

• it’s autumn
• the are pine trees
• some have lost there leaves
• plenty of standing dead woos

Try it. Go for a walk and then paint thumbnail landscapes of your walk. I think you will be amazed.