BONUS TIPS! not included in videos

TIPS FOR CREATING AKUA MONOTYPES WITH SILK SCREEN STENCILS 

Artwork used for exposing the image to the silkscreen mesh can be made by any or a combination of hand-drawn imagery with an opaque ink or printed by computer onto a transparency. Once the silk screen stencil is made it can used as a stencil in combination with monotype techniques. 

BRUSHWORK on transparecy 
Use a soft brush for an even application.

TECHNICAL PEN on transparency 
Use .20 or a wider size tip for best results.

ERASING OR REMOVING INK from transparency
Use the flat side of a sharp blade and scrape away image. 

HALFTONE TRANSPARENCY
enlarged detail

Image above is a halftone transparency printed from a computer. To print a halftone transparency follow these steps in Photoshop:

step 1. Go to Image – Mode- greyscale and discard color. 

step 2. In Mode select Bitmap.  Resolution should be at least 300dpi. Output and input should be the same as dpi.

step 3. Method: select halftone frequency: To determine frequency, divide the mesh size by five. NOTE: Speed Screen mesh size is 110, therefore the frequency size should be 22.

4. Enter Angle: 22

5 Enter Shape: Round

SPEED SCREEN
enlarged detail

Image above is a close up look of the Speed Screen after the photographic halftone transparency was exposed. Notice, the white area is the open area of the mesh where the ink will pass through the stencil. 

DRAWING INTO THE SCREEN-PRINTED IMAGE ON THE MONOTYPE PLATE

After you squeegee  Akua Intaglio ink onto the monotype plate through the silk screen stencil it is ready for printing. However, there is no rush to print the plate right away. Since Akua Intaglio ink will not dry on the nonabsorbent surface of the printing plate you have plenty of time to create unique impressions with additive and reductive monotype methods. The graphic look of the photographic halftone can be manipulated to create painterly effects along with a variety of tonal values. 

Bonus Tips! (not included in the BOTANICAL MONOPRINTING video) 

The print will deboss and produce a sunken image on the printed side of the paper. 

The print will emboss and produce a raised image on the back side of the paper.  To gain an additional print with no ink. (i.e. known as a blind embossment). place two sheets of paper, one on top when going thru the press

Dampen paper for printing deeply embossed / debossed impressions. A standard 245 gsm to 320 gsm heavy weight printmaking paper, such as Arnhem 1618 is recommended. To prepare paper, spray or dip it in a tray of water. Place the paper in an airtight plastic bag over night. For best results, prepare several sheets at a time and stack dry sheets between damp sheets.

Allow plants to dry before printing. Natural pigment may release onto the paper when going through the press if they are still fresh, as plants contain moisture if they are picked while still alive. These natural pigments may fade quickly over time.  For reliable light fast colors that match natural looking greens try mixing Akua oxide green, diarylide yellow and raw umber.  

PRINTMAKING TIPS

 Bonus Tips! (not included in Modifying and Stiffening Akua Intaglio Ink video) 

Too much ink on the brayer will bleed into the carved out areas of a linocut or woodblock. Check your brayer before transferring the ink to your block. If you see blobs of ink around the sides of your roller, you used too much ink.

Removing runny ink from the jar may be a messy task. To avoid ink from dripping from the ink knife while transferring to the ink slab, try following these simple steps: 
1. After dipping the ink knife into the jar hold it over the jar till excess ink stops dripping.
2. Once the ink stops dripping, move the inky knife to the glass slab.
3. Then, place the flat side of the knife down and transfer the ink by pressing.

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