Good Morning. How are you?

I've started work on a small, hand-made book project. Very simply, the books will be less than 10 pages , five of these pages being lino prints (two text, 3 images) and each book series in an edition of 10. Each series will be in a different language - starting with English, Irish and Spanish. The first & last prints in the book will be simple texts "Good Morning" and "How Are You?" The three other prints, separating the texts, will be simple images - a teapot, two mugs, a boiled egg. Existential breakfast. Here goes. Tools for printing.

Trusty wooden spoon technique rubbing the print into being.

The inked lino blocks after a series of test prints.

Lino-blocks and test prints.

I have decided the final books will be printed on heavy Strathmore paper and the cover will be corrugated cardboard. I will bind them simply, using the Japanese stab-binding technique, with a different coloured cotton thread for each language edition. Here are the test prints for the Strathmore paper. I have since been informed by trusty, Gaelgor (Irish-speaking) sources that I made spelling errors in the Irish text for "Good Morning" (should be "Maidgin Mhaigh") so I am cutting a new lino block today. But here are the Strathmore paper test prints drying.

Lino Block Prints

Along with my pasta machine that was converted to a mini printing press, I also got a box of linoleum. They were cut down to size to fit the pasta machine, but actually did not work as the lino is too thick. Nevertheless, from plenty of previous experience, I know that a lino block can be printed using a wooden spoon. As a tester block though, I was keeping my image simple -- two lower legs and feet drawn directly onto the lino representing an image from my ongoing "The Skipping Project". With a larger surface to cut I would use a bench hook for safety.

It is important to have a firm grip on the cutting tool, using both hands (one as grip, the other as guide), Always cut away from yourself.

Paper is prepared in advance and

soaked. Pat damp-dry. I just use clean dish towels.

Spread some ink on a glass or plexi work surface and roll evenly.

 Roll ink onto the block.

 As this was only a test piece I didn't bother with registration, but normally when making a print I have two sets of registration marks: interior marks to place the plate on and exterior marks so that I lay down the paper leaving equal margins. The back of the paper on the lino block is rubbed firmly with a wooden spoon while making sure that the paper does not move.

Aside from the uneven margins, I was happy with the tester. I was using particularly heavy paper so I could have applied more pressure in rubbing in order to get a darker black on the shoes.

Pasta Machine Printer

 Before xmas one of my classmates told me about pasta machines being used as small presses for printmaking and I was intrigued! A google search gives you all the information you need, it's really very simple: the pasta machine acts as a press for small works. Follow all the usual steps for printing. Here felt is cut to size for the pasta machine.

Paper must also be cut to size.

Soak the paper and blot dry. The time for soaking varies depending on the weight of the paper. It should be damp through for printing.

Use a perspex or glass surface for spreading ink.

Roll out the ink evenly before rolling onto your printing plate. I was using an engraved copper plate as the test. Once the ink is rolled on the plate, it must be wiped off leaving the ink in the engraved lines on the plate.

 A felt, paper backing (so felt does not get dirty from the plate), plate, printing paper, felt sandwich is fed through the press. The whole sandwich is then caught at the bottom. My pasta machine needs to be modified a bit at the base, so that the plate sandwich does not get stuck between the table and the machine when making its exit.

Some experimentation is needed -- I started off on the most open setting (7) and there was not enough pressure on the plate.

I moved down to setting 3 and there was too much pressure, hence the crease in the paper. Though it is not as easy as I expected, I will do some more work on it -- I am pleased though with my new press!

Monoprints!

I have been working on some watercolour pencil sketches for the new work, Fever Afterimages, but have found it taking too long. I want a sense of immediacy! I did some test monoprints in three different sizes with acrylic paint, but again I felt dissatisfied. So over the past couple of days have been searching, both locally and over the internet for some water-soluble ink to do my monoprints with. Happily I found one jar of Speedball water soluble block printer's ink in the local school supply shop (the local art supply shop was mystified by my description of the product!). Out came my roller, wooden spoon, various papers, and plastic utensils for drawing into the ink once it is rolled on a glass plate. If I am happy with the results I will have a look for my linoblocks, get out the lino tools and do an edition. But first things first!