I took the stryofoam block from which the images in the previous post were featured and this time around rolled on Daniel Smith oil based relief inks.
Carefully picking up the inked pieces with tweezers transferred them back to the registration board. I assembled these together using the tip of a bamboo skewer set into a spot on each piece where ink had not deposited. This allowed me to lift and push them to get that perfect fit.
I placed a piece of Stonehenge black paper over the inked block. I did not insert any push pins to hold the paper to the registration board. I did take an equal size piece of smooth tagboard and set this on top of the paper and block. I set this on my press bed and making some slight adjustments with the top roller created a passage underneath with just enough pressure to allow a nice even transfer of ink when the block passed underneath while the press bed was advanced.
Hi, Your works are very inspiring. I am a Chinese printmaking live in Oxford, and I am curating an international exhibition of children's prints for Harbin, China, this is an urgent call for children’s prints. please visit: http://hljchildrenprints.weebly.com/
ReplyDeleteYour help will be greatly appreciated, With best regards, Weimin He
I missed your Algonquin day. I see you looking for added opacity sometimes. Oddly, good old inexpensive yellow ochre is quite dense. Often it is less influencing than white. Keep up the good work. L.D.
ReplyDeleteThis is a wonderful print! Thank you for posting it.
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