roycroft-printmaker

30. Second Color Printed

2008-07-15T13:01:00.005-04:00

Here is the second color printed alone and printed over the first color (on different paper).
You can click on the photo for a close up. The paper that I use for my limited edition prints is Stonehenge. It is 100% rag and acid free. It comes in soft, light colors including natural, fawn , cream as well as black. After printing the edition I washed all of the ink from the screen. It is drying now. I will use the same screen with the stencil on it to create the stencil for the third color.

29. Working on the second color

2008-07-09T13:17:00.003-04:00

This photo shows the original screen filler stencil ( dark red)that I used when I printed the first color. I have placed the drawing back under the screen. Click on the photo to see a close up showing the pencil drawing under the screen.

Now I have started to paint screen drawing fluid (blue) wherever I want the second color to go.
The screen is elevated from the drawing underneath by about 1/16". I use strips of mat board to do this. Any areas that are to remain the first color are left without drawing fluid. I can hold the screen up to the light and see how the next color will look and if I have missed anywhere.

I am painting into the first stencil. This helps me to see what I had done earlier. Everything that was white in the first printing will stay white for the entire edition.

After I am satisfied with the way that the drawing fluid looks, I will spread screen filler over the entire screen. Dry it , wash out the drawing fluid, dry it and then print.

28. The first color printed

2008-07-09T13:03:00.007-04:00

I mixed a light, warm gray for the first color that I printed. This will be under all of the sucessive colors. I think that I will keep the rest of the colors closely related in value because I like the look of the pattern of dark against light in this state. I don't want to detract from that.

I have printed the complete edition with this first color. This will be a reduction print. I will use the same screen for the complete edition. I will modify it for each color that I will print.

This is on white Stonehenge acid free paper. The image is about 14" high and 10" wide. It has been printed on 18" x 14" sheets of paper.

27. Design for a new print

2008-07-09T12:02:00.009-04:00

It has been so hot and sticky here for the past few days that I have been thinking about snow. My garden is so lush and colorful now but in the winter I took some photos of the snow on my morning glory trellis. I loved the way that the snow stood out against the trees in the background and the wispy stems of summer flowers in the foreground. The chicken wire around the base kept the local rabbits from eating the tender plants. My garden becomes a new, different and alien place in the winter.

I made a pencil drawing from my photos and placed it under a large (for me) screen. Then, by looking at the image under the screen I made a stencil on the screen. I painted drawing fluid wherever I wanted to have any color. The areas that were to be white were left without any drawing fluid.

27. Another old print

2008-07-08T11:56:00.003-04:00

My friend Mary bought one of the last prints in this edition many years ago. She never had it framed. Just last month she asked my husband to make one of his frames for it.

I didn't have any of "Briar Rose in a Chelsea Vase" left and this was a good opportunity to scan it. I should have photographed it in the handmade frame. It looked so good.

It was an edition of 20 prints plus 3 artist's proofs, 6 1/2" high and 4 1/2" wide, 1995.

When I come across early prints, I will scan them and post them here.

26. Older prints

2008-07-07T11:41:00.010-04:00

I was surprised and very pleased when I saw the posting on the Japonisme blog by Lotusgreen, July 5, 2008 "Gilding the Lily". I had placed a link to her blog because I was so impressed with the written material and the wonderful images. I found myself going back to it every day, learning all of the time.

I have decided to post some older prints on this blog. This image "Trumpet Vine in a Teco Vase" was made in 1995 when I had just become a Roycroft Renaissance Artisan. It is about 13" high and 9" wide. There were 30 prints and two artist's proofs. The edition was sold out and a few years ago I was able to buy one back - it was complete with one of my husband's hand made frames. I have since sold it again, (I can't keep everything) but I was able to scan it so that I still have the image.

Years ago, I planted some shoots from a neighbor's trumpet vine on either side of our open porch. I could sit out there and the humming birds would fly to the blossoms for nectar. When we remodeled the house the porch was gone. I was able to move the trumpet vine to the back fence. The humming birds still find it and they find my monarda and my other red flowers. I love red!

25. Thoughts About Demonstrating

2008-06-30T13:25:00.005-04:00

This was the original image that I used when started my demonstration. It is dog-eared and has spots of drawing fluid on it. It was done in pencil and I started to outline a little blossom on the left with a Sharpie. It helps to have a strong definite drawing to work from.

I was able to make my first stencil at home, in my studio. Everything else was done at the Copper Shop during the Summer Festival. It was fun, talking to interested people and answering their questions. Laurie Kutina and Mary Allyn Schichtel were also demonstrating with me. I realized that I just couldn't do two days by myself. Mary and Laurie printed their Christmas cards. They were both great about explaining the process. People loved their original designs.

I will save my design and make a more acceptable print - sometime. I don't do my best work while I was am answering questions and demonstrating. I need to concentrate. I do like the concept, but I would define the blossoms and leaves more. I would make the orange lighter and the second green much lighter. Sometimes it is an advantage to work on a print that doesn't really come out and then do it over.

"There is no failure except in no longer trying." Elbert Hubbard

24. The Final Color

2008-06-30T13:06:00.006-04:00

The Final Print

Printing three colors would have been fine for the purpose of my demonstration. But just to show how another dimension can be added I will go back into the small area of stencil that is left and just add some highlights to the leaves.

Drawing fluid was painted into a few areas so that I could print a lighter green. Again the screen filler was spread. It is easy when the screen is almost full of filler.

I do like working in this reduction method. You can only print where you had printed before. The layering of ink gives texture to the print. It is important to know which colors will cover others. Yellows and reds need to be printed first as they are translucent and would not cover other colors. Black covers everything. If greens or blues have some white added, they can be opaque.

23. The Third Color

2008-06-30T12:37:00.008-04:00

The Third Color Printed

The Third Color Printed Over the First and Second

Again, I have painted screen drawing fluid into the open areas on the screen wherever I want green. I place my original drawing on the screen bed with the screen over it. Using my photos as reference, I try to capture the leaves and stems of the poppy plant. Again, I cover the screen with screen filler, remove the drawing fluid and print.

22. The second color

2008-06-30T09:56:00.006-04:00

After printing orange, I cleaned the ink from the screen and dried it. Then I painted the outlines and detail of the poppies and stems with screen drawing fluid. I also covered all of the leaf areas with a large brush. This was done in the open stencil area from step 20. I covered all of this with screen filler. Dried it, removed the drawing fluid and then printed black. The photos are of the black alone and then over the orange ink. I did all of this on Saturday at the Summer Festival. I printed an edition of 10 prints. On Sunday, I will go back and finish it.

21.The first color

2008-06-28T19:21:00.005-04:00

First Color Printed

Drawing fluid on the areas to be orange

Orange will be the first color that I will print. I could print the whole stencil with orange ink. But, I really want it just on the poppies. Again I used drawing fluid to paint all of the areas that are to be orange with the screen drawing fluid. It doesn't matter if I go over the edges of the stencil, the filler is blocking out the background.

This time I will use Future floor wax that I have reduced by half to make a temporary stencil on the screen. The drawing fluid will wash out with cold water. Now I can print orange. I have mixed orange ink with transparent base to make it lighter.

20. The stencil has been made

2008-06-22T20:53:00.002-04:00

This is the screen filler stencil that is left on the screen after the drawing fluid was removed.

Early textile artists in Japan used cut paper stencils to decorate their fabrics. We are all familiar with the paper bridges that hold isolated parts of stencils. The Japanese learned to use human hairs or fine threads of silk to hold these elements in place. Later they realized that they could mount their cut paper stencils on silk fabric and eliminate the bridges. This is how silkscreen printing originated. We no longer use silk as a support. The water base inks would cause it to sag. Now polyester is the fabric of choice.

I will be working with this screen to hopefully create an edition of prints at the Summer Festival.

19. Removing the drawing fluid

2008-06-22T12:58:00.004-04:00

After the screen filler is throughly dry I place it in my laundry tub and spray the screen with cold water. I spray both sides. You can see the blue drawing fluid disolve on the right hand side.

Keep on spraying until the blue drawing fluid is completly gone.

For small areas of drawing fluid you can also use a sponge that is wet with cold water to remove the drawing fluid from both sides of the screen. In good weather, I take my screens outdoors and spray them with a garden hose.

After the screen dries again it is ready to be printed.

I will be using this one screen to print a few colors - right now I'm not sure of just how many.

You may have to come to the Copper Shop next weekend to find out.

18. Spreading the Screen Filler

2008-06-21T13:55:00.006-04:00

This photo shows the screen filler being spread all over the image that was painted on the screen with blue drawing fluid. Make sure that the drawing fluid is dry, you can use a hair dryer. Stir the screen filler so that it is well mixed. I use an old ice tea spoon.
Then raise the screen over the table top supported with some blocks, cans or whatever just under the frame. The image reads the way that you want it to print.
For this 16" x 20", 196 monofilament screen I put two teaspoons of screen filler across the farther edge of the screen, inside the frame. Using a straight piece of mat board at about a 45 degree angle, I pull all of the screen filler toward me across the complete image all of the way to the inside of the frame.
Be careful not to let the mat board bend, I use two hands to keep it straight. When you get to the edge of the frame pick up the mat board and throw it away.
Don't let the filler drip onto your screen. You can go over any outside edges with a small piece of mat board, just don't go over the drawing fluid more than once. It is very water soluble and will smear if you go back over it.
If there were any areas of drawing fluid that you missed, don't worry- just let the filler dry and then go over them with a little more filler.
Keep the screen in a horizontal position and let it dry throughly. Again a hair dryer can speed things along.

17. Demonstration for Roycroft Festival

2008-06-20T18:42:00.020-04:00

TheRoycroft Summer Festival is scheduled for June 28 & 29, 2008 - 10 AM to 5 PM on the Historic Roycroft Campus, Main and Grove Sts., East Aurora, NY.

I will be demonstrating my technique of screen printing in the Roycroft Campus Corporation's Copper Shop Gallery. It is across Grove St from the Roycroft Inn.

I have designed a print that I can use for my demonstration. I am hoping that those coming to see the demonstration will be able to refresh what they saw by looking at this blog.

The photo above shows drawing fluid that has been painted on a screen. This is the first step in making a stencil for printing. A pencil drawing has been taped in place on the screen bed. The drawing is visible through the screen. I placed some strips of mat board around the drawing to keep it separated from the screen. Then I used Screen Drawing Fluid, a blue water soluble liquid to paint on the screen everywhere I wanted any color to print. I can use a watercolor brush or a drawing pen. Any mistakes can be easily be removed with clear water. Please click on the photo for an enlargement.
Come to the Copper Shop and see me during the Festival. Two friends will be with me, we will be demonstrating original print making and showing our work.

The materials that I use are all listed in "My Manual" on my web site dorothymarkert.com

16. The final print

2008-01-24T19:01:00.000-05:00

The last color to be printed was red. I painted drawing fluid into the stencil from the previous print. Just the roof tops, the inside of the windows, some leaves and detail on the flowers and the lettering will be red. Fifth and final color - the finished Valentine.

I printed about 30 of these on white Stonehenge paper.

There is no message on the inside - I can write a short note.

I did print my initals and 2008 on the back of the cards.

15.The third and fourth colors printed

2008-01-24T15:04:00.000-05:00

Using the same future stencil, more drawing fluid was painted wherever I wanted to have this light lavender color. Then I spread more Future, washed out the screen filler and printed.

Third color alone - First, second and third colors

Fourth color - First - fourth colors

Then removed all of the Future with ammonia and painted drawing fluid onto the screen filler stencil wherever this next color was to go. I made a screen filler stencil and
printed this gold/tan color.

14. Printing with the Future stencil

2008-01-21T18:55:00.000-05:00

After the drawing fluid in step 13. dried, I spread screen filler over the entire screen. I washed out the screen filler with cold water and was left with this stencil on my screen. Everything that is dark red was protected from the filler by drawing fluid and will remain the white of the paper for the edition. Now I have painted blue drawing fluid wherever I want my first and maybe my second colors. I will spread two coats of Future over all, wash out the drawing fluid, dry and print.

Yellow is the first color that I will print. You can see that it is where I painted the drawing fluid. I will wash just the ink from the screen and dry it. Then I will paint more drawing fluid into the Future stencil for the next color which will be green.

Here is the green printed over the yellow.

13. Making the Screen Filler Stencil

2008-01-19T10:13:00.000-05:00

I put the layout of my Valentine into its register guides in place under the transparent screen. With the screen separated from the layout with some strips of mat board, I painted all of the areas that I expect to be any color in the final print with screen drawing fluid ( blue) directly on the screen. I used small watercolor brushes and a drawing pen for this. The drawing fluid is water soluble and any mistakes can easily be taken out with plain water. I worked on this until it looked the way that I wanted. Whatever is blue drawing fluid can be printed. Whatever is not blue will be plain paper.

12. Using Acrylic Floor Finish as a Blockout

2008-01-18T18:56:00.000-05:00

Years ago I hoped to find a blockout that could be temporaraly used and removed without disturbing the screen filler blockout. I tried a number of materials. Then one day I was reading the American Artist magazine and read of a printmaker who used Future Floor Wax directly on the screen with an airbrush to make graduated tones. I experimented with Future and found it too thin to spread over a screen. I reduced it on the stove by simmering it for about half an hour or until it was about half of the original quantity. See step 6. in this blog.

I have found this material to be very helpful. It cleans out of the screen with clear ammonia and doesn't disturb any screen filler. It works best when it is used for small areas within a screen filler stencil. I use two coats of Future and dry each right after I spread it over the drawing fluid.

During my class this week I will show how to use Future to make a colorful Valentine. I started by designing a card inspired by Clarice Cliff pottery. I set up the registration on my screen bed and proceeded to make a drawing fluid and screen filler stencil of every area that I want to print.

This card is 10" wide and 7" high, when folded it will go into a standard A - 7 envelope. My initals and the year will be on the back. I don't plan to print the inside of this card.

11.Registration for multicolor prints

2008-01-12T15:55:00.000-05:00

Tomorrow, I will be teaching a new class at the Centennial Art Center of Hamburg. I have 8 students in this class. The Art Center is an old one room schoolhouse - we have the place to ourselves on Sunday afternoons. There is plenty of space for everyone. Two of my students are new to screen printing and the others have all taken my classes before. I want to use this blog as a teaching tool. For this first class, I will emphasise proper registration.

Registration is of primary importance in multicolor printing.

It is not hard to achieve almost perfect registration by starting off by having the image to be printed on a sheet of print paper that has been cut for this edition of prints. The image could be drawn right on the print paper or mounted onto a sheet of the print paper with a glue stick. The image should appear about in the center of the screen. Tape the print paper onto the screen bed with a couple of pieces of masking tape. You will need three rectangles of cardboard for registration guides.

The cardboard should be a just little thicker than the print paper. Cereal boxes and other packaging could be used. Use glue stick to cover one side of the cardboard guides. Place the guides onto the screen bed so that they butt up to the print paper at the ends of the longer side of the print paper. Put masking tape over the guides – not too close to the paper. You don’t want the tape to extend where the guide and the paper meet. Be sure that there is glue under the guide at the edge where it butts up to the paper so that the paper will not slide under when setting it in place for printing. Repeat with the third guide at the corner away from the hinges on the screen bed. Now you can remove the masking tape that was first put down.

Every time that you put a sheet of print paper into the guides it will be in the right place for good registration. This works for reduction printing with one screen and for prints made with multiple screens. If you use multiple screens, have them all hinged to the same screen bed and use this method of registration.

10. The final color has been printed.

2008-01-05T14:16:00.000-05:00

Using the reworked screen from step #4, I painted screen drawing fluid onto the detail of the birds and the tree trunks. I used Future again to make a stencil and printed with a soft brown ink. I painted right over most of the birds and tree trunks, being careful not to put drawing fluid any where else. After printing brown, I was able to add the little bit of rose to the tree on the left.

I made 40 of these prints. The image size is 7" x 10 ". They will go nicely into an 11" x 14" frame.

I think that I will name the edition "In a Glasgow Garden" in homage to Charles Rennie Mackintosh and Margaret McDonald Mackintosh.

9. Another green

2008-01-02T10:34:00.000-05:00

A second green has been printed. It is so close in value that it looked just like the first green until it dried. The ink always dries darker than when it is wet. The lighter green is underneath. This build up of layers adds texture to the print - the darker green is slightly raised. I use Speedball, textile screen printing ink and acrylic ink for my prints. They mix beautifully - you can make almost any color. They clean up with water and have a lovely mat finish when dry. You can get them from Dick Blick. http://www.dickblick.com/zz432/07/

8. Third color printed

2007-12-31T16:04:00.000-05:00

I have printed green using the same technique of painting drawing fluid every where I wanted green, covering all with two coats of Future and then washing out the drawing fluid.

I realize that I have forgotten a little piece of a rose on the left hand side. It will be easy to go back and correct this as I have my screen filler stencil still on the screen.

I think that I will make the leaves and the squares in the corners darker. The Future stencil is still on the screen. I have only washed off the ink. I will paint drawing fluid on the leaves and squares and put two more coats of Future over all.

7. The second color printed

2007-12-29T10:12:00.000-05:00

This shows the second color printed over the first on fawn, Stonehenge paper.

This is the print that I made with the previous screen (6.)by itself. It is on white paper.

It is of just the areas where I had painted screen drawing fluid. The Future and the screen filler keep the ink from printing in the other areas.

After printing some proofs and all of the edition, I cleaned the ink from the screen with cold water and then used clear ammonia to remove the Future.
I will go on and rework the screen for the third color. I will paint drawing fluid wherever I want to print green. And then use Future to make a stencil to print green.