Why trap your prints behind glass? Are they desiccated museum exhibits forever fixed in time?
‘A print that moves’ is part of my investigation into making prints that live outside the frame.
In this post I want to share some of my current work with you
People are often confused by the difference between transparent ink and linseed oil, and how these two elements affect your inks for printmaking.
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If you are familiar with traditional lino prints you may like to extend your pritnmaking by...
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It is not just the print studios who have their own embossed stamps, individual artists do too. If its good enough for Picassso its good enough for us curious printmakers as well!
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Burning collagraph plates introduces exciting random and organic methods to your platemaking. I love this technique as you give up a certain amount of control and allow your materials to guide your creative process.
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This is the best thing I have found so far for taking impressions of textures from 3d objects and then printing them directly. Latex picks up precise fine details, moulds round contoured shapes and stretches out flat. The thin rubber plate takes intaglio and relief ink and you can print it with or without a press.
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