Because I figured, “why not”

So, before you start your print, it’s best to have an idea. I mean you could do it freehand but whatever, you know? This is a sketch I did a little while back for a painting I was thinking of doing. I chose to make a print ‘cause I thought I could get some interesting effects using ink. I could still totally make a painting out of this, who knows? That’s creative freedom, baby. This sketch was made in an 8″x10″ sketchbook.

Since my printing plate was 16″x20″, I redrew the sketch on newsprint in the same dimensions, refining the drawing and figuring out some shadow placement. As you can see I added a little more motion to the cape and gave the body some more heft.

This drawing was then traced onto the plate (a piece of plexiglass) with permanent marker, then flipped. This flip side is where the ink will go, so I don’t end up making a mirror image of my original drawing. I also wrote notes to myself on the marker side, such as alignment for registration (more on that in a minute), color choices a la paint-by-numbers, etc. The writing also helps me remember which side to ink on. If the letters are backwards, I’m good to go.

“Registering” a print is a system to consistently align the plate with the paper each time they go through the press. Our lab uses a rather lo-fi version involving a partial cardboard frame, tape, and handwritten notes to remind ourselves which corners should line up.

I’m using a reductive technique, which means that colors are mixed through layering with each successive print, rather than mixed prior to inking.The ink is applied to the plate with a variety of techniques, most commonly using a brayer, which is pretty much like a heavy-duty paint roller made out of rubber but don’t you dare scratch it or ding it or else it’ll be RUINED FOREVER. Using a brayer typically results in the most intense and consistent color. (in this case I used a tiny brayer for the red which looks streaky, but I knew I was going to color over it)

(I also don’t have any pictures of the press, or the inked plate, or any in-process shots because I wasn’t even planning on making a mini-tutorial until I was already almost done with the print. mea culpa.)

finished adding the reds and yellows, then started adding a hand-mixed purple (carmine red and pthalo blue), which turns out darker and more neutral than pre-mixed purple but is softer than black. I nixed the brayer and went ham applying the ink directly with different-sized brushes, thinning it out with lithotine to get more fluid effects.

Finally, the lines and darkest values were added in black, and pre-mixed tan ink for the ground. The black had the unintended effect of flattening out the purple and some additional blue, but thems the breaks. Live and learn.

Ready for the show!

(color-correcting is a bitch.)

Thanks for reading! :)