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The Bench Hook

bench hook building woodworking plans plan

The Most Important (Missing) Part of your Linocut Toolkit

Every day, relief printmakers place their hands in the line on danger. I know firsthand, and I have the scars to prove it. You probably do too. What if I told you there is an inexpensive way to protect your and your students’ precious phalanges?

What is a Bench Hook?

A bench hook is a board that holds your carving plate for you, keeping your fingers out of harm’s way. It catches on the edge of your desk (i.e. kitchen table) and cradles your plate in its corner, so you don’t have to hold it. You know that moment when you zone into carving, and you forget about where you’re holding your plate and then your blade slips? In this case, it nicks the wood lip along the bench hook, and not your hand. No band-aids. No stitches. You can keep on carving.

 

What Kind of Bench Hook is Best for a Printmaker?

First, let’s talk about what a printmaker wants in a bench hook. We carve at an angle, so it’s imperative that our bench hook have a corner nook. Make sure the corner is on the correct side of the board for you. The carving corner is on the left side for a right hander’s bench hooks, and on the right side for a left hander’s bench hook. 

I recommend a bench hook made out of wood, rather than particle board, if possible. Over time, particle board gets stripped, causing the wood stops to wiggle and break off. This is why you need a wood bench hook. Unfortunately, these are hard to find,  and I’m not always able to keep them in stock. 

 

How Can I Get a Bench Hook?

You have two choices- you can build it or you can buy it. I recommend building your bench hook. It is such a simple woodworking project, and not to mention, and investment in your health.

There are not many bench hook purchase options for purchase. I’m not always able to keep bench hooks in stock, so I now keep my bench hook building plans in the shop here. The instructions are easy to follow and include hand illustrated instructions and photos.

 
left handed bench hook
Left Handed Bench Hook
right handed bench hook
Right Handed Bench Hook

Where Can I Buy a Bench Hook?

Here, sometimes. When I build a batch of bench hooks,  you can be sure I’ll share it on Instagram, twitter, or in my newsletter. In the meantime, there are a few more options.

This Bench Hook, made by the Educational Arts company, is available in different places across the internet, from eBay to sites with names like BigaMart and Fishpond. A quick look shows that Americans get the best shipping rate from eBay sources, while UK residents should stick to the other aforementioned shops. The bench hook is usually priced reasonably, but be wary of astronomical shipping costs. It appears to be made from particle board, rather than wood, so consider it disposable. Some sites show that the side carving lip can be lifted out and switched to the other side to make the bench hook left handed.

Speedball offers a metal bench hook, but you will still need to secure the plate with your non dominant hand when carving because it has no side bar. My objective is to keep those fingers out of the picture entirely, though, so it is not my top choice. It does doubles as an inking plate, but without the side bar, it cannot be used for registration.

speedball bench hook

 
 

More Bench Hook Uses

My favorite alternate use for a bench hook is as an quick registration system for spoon and baren pressed prints. This only works for bench hooks that have a side bar. Use the cozy corner to perfectly  line up your paper and your plate. This works great for cards and other projects where the paper is the same size as the plate.
 

If you’ve been printmaking without one, watch where you place your hand when you first start using your new bench hook. Out of habit, you may still place your hand in the path of the blade, even though the bench hook holds the plate steady for you now. Keep that non dominant hand safely wrapped around the handle of your mug.

bench hook
bench hook
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Printmaking Material Alternatives

plywood relief print power lines

Everyday Printmaking Materials Hacks

A common printmaking misconception is that you need all the right tools to begin. You really don’t. Over the years I have found many substitutes for high dollar printmaking materials. While I encourage the use of quality materials, particularly handmade paper, sometimes expense and availability can get in the way of art making. Here are my best printmaking hacks to start or keep you printing regardless of funds or materials.

Drypoint Etching Material Alternatives

1. You don’t need plexiglass or copper to make beautiful work. Aluminum cans can be sliced and laid flat and etched into on either side. I recommend using a tallboy can so you have a larger plate to work on, and taping it down so to prevent the metal from rolling up while you’re working. This also protects you from those sharp edges.

etching onto aluminum canbeer can etching

CDs are another fun alternative, but just about any smooth plastic will work. I’ve used overhead projector plastic sheets for an experiment with printing etchings onto wood (semi successful). I wouldn’t be surprised if the smooth inside of a plastic milk carton would make a good substrate.

2. You don’t need a fancy etching scribe to make a good impression. My first printmaking teacher, Brian Spolans, taught us that we could tape a pushpin to the end of a pen. I used that silly looking tool to etch my first drypoint. I’ve upgraded since then- my favorite etching tool now is a needle in a mechanical pencil.

3. No ink? Try scribbling across your plate with a watercolor pencil or crayon. The water based pigment will fill the grooves and your wet paper will draw it out, much that same as ink.

4. No tarlatan? Use cheesecloth or phonebook pages. I’ve also had luck using fabric remnants from a tight weave cotton fabric- think quilt or tablelcloth material.

Monotype Inks

I made my first monotype in high school, using watercolor on a sanded plexiglass plate. Since then I’ve done monoprint using oil paint, waterbased marker, watercolor crayons and watercolor pencil. I’ve even experimented with chalk pastel, making some beautiful effects using Prismacolor Nupastel.

Relief Printmaking

In a moment of artistic passion, I grabbed the nearest scrap wood I had- a thin plywood I had found by the side of the road and schlepped home. No, not balsa, not linoleum. I had no wood carving tools yet so I used a wood burning tool. I love the effect. You can see the woodgrain. I cut a little frame for the print out of the same wood I used to make it.

plywood relief print power lines

Here is my relief print “Burbank Alley” made from the lid of a styrofoam egg carton. Materials are everywhere, and frequently in the the recycling bin. See my Styrofoam Printmaking post for more on this.

syrofoam printmaking

 

Collagraph

When it comes to unusual materials, collagraph is my favorite. When I taught printmaking afterschool, the kids loved the chance to glue unexpected things to paper. I brought rosemary, feathers, textured fabrics cut from dilapidated lawn furniture, mesh bags fruits and vegetables were purchased in, pastas and more.

 

Good, Cheap Paper

In my years of printmaking I discovered an inexpensive paper that soaks quickly and absorbs ink well every time. It’s good to have a reliable paper for tests or classes. I’ve ended up using it for cards as well. Office supply stores sell a heavy weight cardstock, sometimes called Vellum, that works great. Neenah Exact Index Premium Cardstock was the most recent name I purchased this paper under. Offered by both Office Depot and Staples, 250 sheets goes a long way!

Soak a minute or two, until the paper develops a couple of gray spots- where the paper soaks through too much, pat dry in a towel, and print.

Printing Press Alternatives

1. The Pocket Press! I have to mention it for those reading this post from another source. If you are not yet familiar with my handheld press, learn all about it here: Printmaking Press in a Box.

2. Your car. I have printed etchings using my car tire. Proceed with caution. You plate could break.  I set it up with a wooden board on top of the traditional felt sheets.

3. Your office chair wheel. I conducted an experiment in office printmaking using a broken open ballpoint pen for ink and the wheel of my chair to press the ink onto the page. I had to roll back and forth over the plate a bunch of times, and make sure my weight was being applied as I rolled, but I did transfer my etching. Not beautifully, but, enough.

4. I’m a fan of the wooden spoon, though I’ve always wondered what kind of transfer I could using my weight an a roller skate.

What are your favorite printmaking hacks?

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Printmaking on Fabric

printmaking on fabric

Linocut Printmaking on Fabric

I recently made a linocut that I think would be nice on a t-shirt, and that got me thinking about finding a simple way to use my linoleum plates for printmaking on fabric. Block printing on fabric is a similar idea. With block printing, a small stamp is used and the image is repeated. My goal is to find a way to consistently get a good transfer on any fabric when pressing a large linocut plate.fabricblog2

I had some Jacquard Fabric Color on hand, so I rolled that out with my brayer and applied it to my heart linocut plate. First, I tried hand stamping it (top), but that didn’t turn out very well. Using my Pocket Press and treating the fabric as paper worked pretty well. I could tell from rolling it into the plate that the consistency of the ink was the is issue here. Pressure helped, but the fabric color doesn’t have the coverage needed for relief printmaking on fabric.

Next, I tried house paint. I’ve had great luck using house paint to create canvas tote and t shirt designs using monoprint plates and using DIY silkscreens. The house paint had a really cool look, but it was runny and mostly filled the gaps around the hearts. Filing this away for future experiments in intaglio fabric printing.

I thought I was out of ink, but I decided to look through the ink drawer and read the packages. Akua says nothing about fabric printing. Neither do Blick or Speedball water based inks. However, Speedball Oil-based Printmaking Ink says on the tube that it is intended for use on fabric (just allow a 2 week cure time).

Using a Pocket Press and Speedball Oil-Based Ink to Print on Fabric

printmaking on fabric

Speedball Oil-Based ink needs a lot of pressure to transfer well. The Pocket Press was really handy here. I had to be very aware of pressing evenly with both sides of my body, and making sure I applied pressure evenly over the entire plate.

If you look closely at the print below, you can see that I pressed harder with the left side of my body. Being just a little more aware remedied this problem, as does rolling over the plate a second or third time. Also, I have to press HARD. I pressed as hard as I have to when I print really deeply etched intaglio plates. The resulting fabric prints were just lovely. They have a delicate and obviously hand printed look that I will be using even if I find an ink that transfers onto fabric as well as standard inks adhere to paper. I have just ordered a tube of Speedball Fabric Block Printing Ink to see if this can create a darker print.

————–

The Speedball Fabric Block Printing Ink arrived. I tried 5 different approaches. First, I rolled out the ink normally, set the plate on top of the fabric and stood on it. I wanted to give personally applied pressure a fair shake (bottom right). Then, I rolled the ink out normally, and pressed. I got a more even transfer, but it was lighter than the silk screened look I was hoping for. So I tried wetting the fabric. This made a big difference (top left) but so did simply being more generous with ink application without wetting the fabric (bottom left). Just to make sure that more generous ink application wasn’t the only reason I was getting a better transfer, I tried applying a lot of ink and pressing with my body weight again. The results were more like the image on the top right. To get a nice, dark transfer like the toasters on the left, I found I needed to use my pocket press and to press my strength into the press using both hands. I’ll add a video below shortly.

printmaking on fabric

 

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How to Press a Linocut with a Pocket Press

linocut press

After weeks of contemplation and hours of experimentation, I have created a way for linocutters to print multiple color passes and use dry paper! First, meet the new Magic Platen for Linocut Plates and Multiple Passes! This blog will show you how to press a linocut using this setup. This printmaking press and platen is unique because it has built in registration, and it can also print etchings, monoprints, collagraphs and more.

linocut pressSee those pegs at the bottom? Those are the key. The original Magic Platen can be used for linocuts, but you have to use damp paper or tape down your paper on all sides because dry paper will shift a little while pressing. With this version of the Magic Platen, the built in registration bar keeps the paper from shifting, and it makes registration a cinch because your paper will always lay down in the exact same spot. Just make sure your plates are the exact same size, and mark where you put your plate with tape or a grease pencil.

To create the powerline plate, I started with a photograph that I took and some carbon paper. Carbon paper is a must have for every printmaker’s toolbox because it makes it possible to transfer an image without obliterating the original. It also makes it easy to work from photographs. I include a sheet with every linocut kit.

[kad_youtube url=”https://www.youtube.com/watch?v=r-rbvBvZnV8″ ]

You actually can’t even see the pencil lines on the photo, but to really preserve your original image, use something like the other end of a paint brush- something pointed enough, but that has no lead so it won’t leave any marks.

I carved my plate in about 5 minutes with help from my bench hook.

bench hook

 

Watch to see how to set up your paper and press a 2 color print using a Pocket Press and Magic Platen:

[kad_youtube url=”https://www.youtube.com/watch?v=wE51C9rs7Xw” ]

I know that you’re thinking. My registration is off. Yes, I have the opportunity for perfect registration with every print run… but I failed to make sure my plates were the exact same shape. Hey, at least I didn’t carve anything backwards.

Tips on how to press a linocut with this setup:

  1. I put a small amount of ink on the top of the registration pins so that I can lay my paper on top of them and see where to punch the holes. Remember, slide your paper down the pins first, then clip it at the top.
  2. Use matboard and create a frame for your plate. This way, the press won’t push the paper down on either side of the plate. If you skip this you will need to make sure you only apply pressure on the plate.
  3. Be mindful of pressure. It doesn’t take much pressure to transfer linocut images. But really overlap your rows when you print. And only press away from your body, away from the registration pins. I used Akua ink and oil based ink for the 2 color layers in my print. The Akua ink requires barely any pressure to transfer, but the oil based ink is thinner, so I press a little harder.

Like my prints? I sell them on Etsy!

How to press a linocut

[kad_youtube url=”https://www.youtube.com/watch?v=c0O8CVqKmFg” ]

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Big Printmaking at Home

How to Press Large Etchings, Linocuts and Monoprints with a Pocket Press

My pocket press is great for smaller printmaking at home at the kitchen table, but it can also print large. I usually recommend using plates that fit my Magic Platen or rubber platen because a good print is dependent on the printmaker (you) pressing steadily and evenly. This recommendation didn’t phase artist Chelsie Dysart, who jumped right into printing big with her Pocket Press, starting with a 12″ x 16.5″ print that you can see on her art page. Most of us need a little more practice to press big because you need to be very mindful about maintaining pressure and staying even when you roll over your plate in your straight overlapping rows.

large printmaking without a pressI usually use my Magic Platen to create large prints. The rubbery coating causes the plate to resist movement when pressure is applied, and it is quite strong. So strong, that you can extend your platen’s surface simply by laying a board or book that is the same thickness next to it. If you will be extending your magic platen on either side, and not at the bottom as pictured, you can clamp your felt and paper to your extending boards using large binder clips, clamps, or C clamps. The binder clipped portion will need to hang off the table edge so that it does not cause your extension board to wobble. Most kinds of clamps should be able to open large enough to secure the felt, paper, and extending boards to the table itself.

You will need 2 felt blankets large enough to cover your plate. Felt is the only material that will work, and skipping it will create banding. The variety of felt they sell at your local craft or sewing shop should work.

Here is a video of me pressing this plate in my home studio. I soak the paper first, and dry it by folding it into a towel and rolling over the back of the towel with a rolling pin. For this print, I used my bulk bottle of Blick block printing ink.

[kad_youtube url=”https://youtu.be/bm-1Ur6nsbQ” ]

large etchings without a press

If your plate is HUGE, or your don’t have a Magic Platen, there is another, inexpensive setup for printmaking at home with a Pocket Press: shelf liner. You need the thicker, rubbery kind with the holes in it and no sticky side. This stuff is available at most hardware stores and dollar stores. You might need to place two sheets side by side if your plate is very large.

You will also need 2 sheets of felt to fit the size of your plate, as well as large binder clips or clamps to clip the shelf liner, paper, and felt sheets to the table.

This method will leave the impression of the shelf liner all around your plate. If you’re not a fan of “evidence of process” like I am, one solution is to cut a matboard to go all around your plate. You can also contact me about creating a custom rubber platen or Magic Platen to fit your needs.

I use an etching plate in this example, but the printmaking setups described in this post will work for pressing all kinds of prints. You can press linocuts and monprints this way. For linocuts, you will need to use damp paper and be aware of banding. You may need to press your plate a couple of times, or really overlap your rows to avoid the appearance of tracks in your large prints. For large scale monoprints, remember that it is possible to press too hard. You’ll have to be very aware of holding even and consistent printing. But don’t let this discourage you.

Here’s the video that shows me pressing my large plate using the non slip liner I purchased at my local hardward store.

[kad_youtube url=”https://youtu.be/OvlRLTy_8a4″ ]

 

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How to Print Drypoint with a Palm Press and Akua Ink

drypoint plexiglass etching

Scotland artist Lucy Johnston wanted to know how my press works when I print drypoint with Akua inks. Lucy currently uses Akua ink and a die cutting machine to press her tiny, elegant prints. The pocket press would give her the ability to work larger, but the small rollers would also be well suited for pressing her delicate pieces, sometimes made using silver! Interestingly, Lucy mentioned that she prints her intaglio prints on dry paper because she has had difficulty getting Akua ink to adhere to damp paper when pressing her drypoints. She wanted to know if she’d run into the same problems with a pocket press. I’ve been wanting to learn more about printmaking inks, so I ordered some Akua and got to work.

I was eager to print right away so I used the bulk vellum paper I keep on hand. You only need to soak it a minute or two to get a great ink transfer every time. This happened with the Akua ink too. I think I’ll start including some of this paper with my press kits, come to think of it. Here’s a video of this print run. You can see how much less messy it is when you have a Magic Platen to hold your plate while you ink it up.
In the video you can see that I lifted my paper up several times. First, I began to lift the paper and I saw that I wanted more ink the adhere in one area, so I pressed that section again. Then I decided to try lifting the paper and re-pressing just to see if it would cause a double impression. It did not. This means you can lay your paper back down and press more when you’re using the Magic Platen and Pocket Press. This is simply not an option when using a traditional etching press.
Then I realized that Lucy probably isn’t using inexpensive vellum for her etchings so I decided to try the Akua inks with Kelsey Pike’s All paper. This is going to behave more like Reeves or another thick, cottony printmaking paper. I’d like to compare Pike and Reeves papers because I have a feeling that Kelsey’s paper will win. It just feels fresh. But that is a blog for another day.
I soaked the All Paper for about 10 minutes and turned out another print. It wasn’t a bad print, but it was a little bit light. I could see what Lucy meant about Akua ink having an issue with damp paper. Upon very close inspection it almost looked like the ink resisted adhering, like you’d think an oil based ink would act, but for whatever reason, doesn’t. There was only one more thing to try: soaking the paper longer.
I let the paper soak for nearly an hour and turned out a great looking print. When pressing drypoint with Akua ink, I recommend soaking your standard high quality printmaking paper about 45 minutes, if not an hour. Or you can try using some Bristol or Vellum if you’re short on time.
drypoint plexiglass etching
akua ink intaglio etching
You don’t have to soak as long when using other intaglio plates, though it probably won’t hurt. I soaked the paper for about 20 minutes before pressing printmaker Erika Chamberlin’s acid etched plate and got a nice print.
printing etching dry paper
Then I got curious. If Lucy wanted to know if the Pocket Press can press etchings with
damp paper using Akua ink- that means she prints her miniature drypoint plates on dry paper. I wondered: can my press print drypoint etchings without dampening the paper? I have to say, this is not too shabby for an intaglio with bone dry paper.
After many print runs with my Pocket Press and Magic Platen, I can’t believe this is the first time I realized that when you’re using a larger or heavier plate, like my 6” x 9” plexi plate or Erika’s 4” x 3” zinc plate, you can ink it and wipe the plate directly on the platen board without holding it. No inky fingers! When you apply pressure to objects on the Magic Platen, they respond by resisting movement. As you can see in the video, the plate just stayed put on the platen while inked it and wiped it. This also explains why I was also able to lay my paper back down and press my plate more without getting double impression. The Platen just doesn’t want your plate to budge.
Are you a printmaker with a question about my press? Send me a message at diana (at) printmaking press (dot) com. Learn more about my pocket presses at www.printmakingpress.com.
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Styrofoam Printmaking with Pocket Press

It presses etchings, but how about Styrofoam Printmaking?

Artist/Printmaker Brad Schwartz wanted to know how my press works with styrofoam printmaking. I have been using this press for etchings, and an occasional small woodcut, so I had to try it out in order to answer his question. Using styrofoam plates is a popular printmaking method for schools and other often press-less places. Usually, a line based images is drawn onto the plate using a pencil or chopstick, and then the plate is dipped or painted with tempera paint and the pressed on paper. The results aren’t half bad! But, let’s take it to the next level.

20151227_191627I went hunting around the house for some Styrofoam and found some in my studio (of course) in the form of an egg carton. I cut 2 roughly 4″ x 6″ plates and got to work. My first plate portrays an alley scene. I drew the image onto paper with pencil, then set my paper on top of my plate, transferring the drawing by quickly covering the backside of the paper with the graphite. This is a great printmaking tip for keeping your final masterpiece facing the way it was intended. 20151227_192952I used a very dull colored pencil to create white areas between the power lines, then scratched and pulled away pieces of the plate to create the rooftop forms and
the ground.For my second plate, I just drew the image directly onto the plate. I created tones by quickly sketching over the bottom area with a etching needle, and pulling away a layer of Styrofoam behind the vents in the top of the plate.
The first print received the perfect storm of printmaking set up- the paper was soaked a good 5 or 10 minutes, and laid on the plate before the ink had dried out. Also, I pressed lightly, so that it didn’t feel like I was pressing the foam into the platen. This turned out to be the best touch.

styrofoam printmaking

The next 2 prints I pressed too hard. It turns out you should just firmly roll the press across without really pressing down. More like a baren, but oh so much faster. If you don’t get enough ink transfer, you’re safe setting the paper back down and rolling back on forth over the felt with these prints. Just hold the felt in place with your hand when you press backwards.

Here is a print pressed with a steady yet light touch next to the one from the video, where I depressed the foam too much. I really recommend Styrofoam printmaking for any printmaker wanting to get back into it quickly. These took me maybe half an hour to create and press.  In my usual style, I’ll leave printing the rest of the edition until later…

20151227_200137

 

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Letterpress Without a Press

Letterpressing a Thank You Card with a Pocket Press!

letter pressI got some super generous and thoughtful gifts this Christmas, so I decided to make thank you cards myself. I love letterpress, but I don’t have the funds or the focus to invest in a letterpress. So, I decided to think about ways my pocket press can be used this way. The heavy emboss makes me swoon, and I just got some cotton paper from Kelsey Pike Paper+Craft so I started poking around my studio.

These marquee letters I found at a thrift store once were perfect. It was easy to break the little tabs off the back. The only problem was that the “N” would turn out backwards… so I found a “W” and took saw to it. Take a look- the “N” looks italicized. The next puzzle was getting it all onto one card- so I decided to squeeze the lettering together. No adhesive needed because my Magic Platen’s magic coating holds the letters in place when pressure is applied.

I soaked the paper for about 20 minutes, and I was careful to locate the letters underneath the felt before pressing each row. I wanted to keep in mind where the letters stopped so I wouldn’t cause the paper to break when stepping from the letter to the platen. I think I could have put down a layer of craft foam under my felt to help absorb and apply pressure. I will try this on the next card! Look how well this turned out! Who needs a letterpress?

letterpress without a press

 

letterpress press

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Zinc Etching Printmaking Penpal

small etching press

Zinc Etching and Printing Collaboration

I have been using my pocket press to press drypoint etchings for years. Like many artists out of art school, I have no easy access to etching using acid. I didn’t know if my hand held press could create enough force to press the ink from the deeply etched lines of an acid etched plate. So I reached out on the Printmakers Unite! Facebook group and a very kind and experienced printmaker responded. Erika Chamberlin is a fine artist, seasoned printmaker, and a retired USFS firefighter. This might explain why she was up for this art adventure. Even though we’ve never met and have no friends in common, she sent me a stack of intaglio and relief plates, including two fantastic zinc etching plates she made decades ago, so that I could press them with my pocket press and platen… in my pajamas.

The first print turned out pretty well!

Erika Chamberlin zinc etching plate with tiny printmaking press

Erika Chamberin zinc intaglio mini press test run

There are a couple of spots where the ink didn’t rise completely from the etched lines. Pressing harder seems like the solution, but pressing too hard can also cause the ink to bleed a little. I got to thinking that a softer cloth behind the paper might help it reach the ink. Rebecca from Boxcar Press shared with me that letterpressers use tympan or onion skin paper behind their printing paper to get more of an impression using traditional presses. So I did a test run where I laid craft foam across the back of one half of the plate, and fleece over the other half. You can see the light line that appears where the two materials met. Both backings caused too much bleeding, but definitely got all the ink out of the lines.

I tried a thinner fabric and the line still remained blurred. Then I tried tracing paper in place of onion skin paper, but it did not have any effect. If the lines are very deeply etched, as they are on the leftmost portion of this zinc etching plate (see right most portion of paper) it may be challenging to transfer palm press, or any printmaking press for that matter. Or, it may just be a matter of needing a spongier paper, or a higher quality ink. The beauty of printmaking is that it combines art with science, which is probably why printmaking is traditionally done in a lab. I’ve ordered some high quality handmade paper from Kelsey Pike Papercraft to try out.

UPDATE

Kelsey’s handmade paper arrived on time and it turns out my mini printmaking press can handle deeply etched plates- I just needed to use high quality paper like I was required to do back in art school. Only a high quality paper can reach into these grooves. This paper can also handle soaking longer.

First, I tried Kelsey’s white cotton paper, which I soaked for about 10 minutes and got a really great print. Kelsey sent a long a sample of her All Paper, which has better wet strength. I soaked it for 20 minutes, patted it dry, and got an even better print.

Here they are!small etching press

 

I’ll be sending these prints back to Erika to sign. She’s going to send me one back to keep. Maybe some of the others will appear on her artist website.

Materials use for these prints:

  • Paper- thin vellum (cardstock) as well as bristol vellum, soaked for a minute or 2, follower by Cotton and All papers by Kelsey Pike Sustainable Papercraft.
  • Ink- Speedball Block Printing Ink