Etching is a printmaking technique capable of producing atmospheric tonal prints. Here are the materials and tools you will need to get started.
I often get asked where I buy my printmaking supplies when I run my workshops. These are details of the tools I use on my beginners linocut workshops and as professional artist.
I often get asked where I buy my printmaking supplies when I run my workshops. These are details of the tools I use on my beginners linocut workshops and as professional artist.
Discover the joy of creating your own unique prints with potatoes! All the tools and materials you need to get started with potato printing.
Monday (Patriots day for us from Massachusetts and Maine), Judith came over for a play date. Something I was really wanting to try was making black marks on white fabric that I could later dye a certain color for inclusion into a piece. I made the marks in sections so they could easily be cut out at a later date and dyed or used in some other way. I assembled a PILE (really) of mark making tools and Judith and I had a ball. My fabric was pre-soaked in soda ash. Judith used print paste with soda ash already in it. Both of us were using really old print paste from the back of my refrigerator. I found out after washing that Judith's print paste was fairly exhausted but the end of the day and the color changed from black to green. This is why I am including photos of the marks wet which were all black as well as photos of the cloth washed and iron (and green). I'm starting with the wet prints made with black MX dye and print paste. The alphabet stamps I used with thickened dye on a glass plate. Upper left is my smacker (below) The piece below was printed with small bubble wrap (center), a lint roller with carpet pad on it (below), a monoprint off the glass plate on the upper right and solid and hollow circles made with an empty cone spool (below) This was a thin line of thickened dye with a wide tooth comb run through it. Not one on my more successful attempts. It worked great on paper with India ink. (below) These were done with my rope stamps (below) This , which I LOVE, was done with a square cut out of a car sponge (below) Now the washed, dried and ironed versions: I switched from my squeeze bottle of black thickened dye to Judith's exhausted dye. Had I known...... a thin line of dye with a credit card run through it vertically pale grey dye applied with a credit card This is a large panel done with the dye in a syringe graffiti style Credit card dipped in dye. I think if the dye was thinner, it might have come out better I printed letters and figures for a reason I will talk about in the future. Monoprint from the glass and designs made with letters and numbers (fun!) The smacker The solid circles were made with the screw on cap from my soda ash jug. They smacked like the smacker does. The left side was done with a lint roller with elastics (below) I will do more of this, possibly trying to perfect a few mistakes and maybe trying new mark making tools.
Print Details: This listing is for an inkjet print of my original watercolor + acrylic artwork. Printed on high quality Epson Matte paper with archival ink. Watermark will not appear on your print. Available in 8x10, 11x14 and large format (13x16.5-13x19) by clicking “select a size” when adding to cart. We offer a discount when purchasing 5 or more prints!: 8x10: https://www.etsy.com/listing/106815839/sale-set-of-6-8x10-prints 11x14: https://www.etsy.com/listing/127747412/sale-set-of-6-11x14-prints Shipping Details: 8x10 prints and 11x14 prints will be packaged in a protective cellophane sleeve with backing board, and shipped to you in a sturdy cardboard mailer. If you purchase multiple prints, please note they will all be packaged in a single sleeve. Large format prints will be carefully rolled into a sturdy mailing tube. Orders are shipped First Class via USPS. My current turn around time can be found on the "shipping and policies" tab of this listing :) If you’re purchasing this as a gift, please leave any gift note instructions in the “note to seller” section at checkout :) ****** ©Katie Daisy 2019 Images may not be reproduced, resold or used in any form without written consent. By purchasing this item you agree to my shop policies: https://www.etsy.com/your/shops/thewheatfield/policies **FRAME NOT INCLUDED. EXAMPLE ONLY!**
Wondering how to digitize artwork? These steps will guide you through scanner settings, file types, and editing tools.
Read on to find how to make artwork prints! I’ll share everything you need to know about making in-house prints. From the tools to the insider tips.
Build a Printmaking Press!: Have you ever wanted to get a press for making block prints, searched online, saw the multi thousand dollar price tag and dejectedly said: "dang nevermind"? This is exactly what went through my mind as I looked for presses online. I make a decent am…
I often get asked where I buy my printmaking supplies when I run my workshops. These are details of the tools I use on my beginners linocut workshops and as professional artist.
I often get asked where I buy my printmaking supplies when I run my workshops. These are details of the tools I use on my beginners linocut workshops and as professional artist.
Your digital art can look different depending on the printer you use. That’s why it’s crucial to pick the best printers for art prints.
Well, sort of. The holidays always make me want to slow down, so my artistic output suffers pretty dramatically and as a result, I don't have a whole lot to blog about. I have been working some, though, so I have some fun eye candy to show off, today. This is a mixed-media piece, 30" x 12". It is a stretched artist canvas that's been painted with acrylics and India inks, and then collaged with dyed, batiked, and painted fabric, as well as watercolor papers and painted metal washers. I guess I've been in a Fall kind of mood, because the color palette reflects turning leaves. This piece is 30" x 40", stretched canvas with acrylics. I used a new set of tools to create the texture (more on those in a moment), and then did some monoprinted Stacked Journaling across the entire surface. The tools I used to create the "combed" texture are a new line of funsies created by the Princeton Artist Brush Company. They are called Catalyst wedges and blades. Aren't they cool? I was contacted a few weeks ago by the folks at Princeton Brushes, who offered to send me these silicone beauties and asked me to experiment with them. I've only just begun to play with them, so I haven't nearly scratched the surface of what they can do but over the coming weeks and months I'll be spending more time with them, so I'm sure you'll start seeing me talk more about them. Tutorials could even be in the offing, if I discover some neat new uses for them, but in the meantime, click HERE to watch some pretty cool videos of artists and chefs using these tools in their trades. Of course these tools can be used with paint, but they can also be used as texture tools for potters, with encaustics (hot wax painting) because they are highly heat resistant, and even in the culinary arts, because they are FDA approved for food safety! I can't wait to spend more time exploring them! In the meantime, may your holidays be peaceful and fun. Happy creating!
There are a large variety of different lino cutting tools with different shapes and sizes. The most common lino tools are V Tools and U Tools. U Tools carve softer lines with a curved end point and an even width but it can be harder to get control over the placement of your edges. V …
Also known as drafting, technical drawing is the practice of creating accurate representations of objects for architectural and engineering needs. A
Hi! It’s Birgit here! Today I want to show you that tools to create beautiful gel prints don’t have to be expensive. Even better, they can be for free! Recycle your cardboard and be surprised what you can do with something that you would normally dispose. This is also great to do with kids! Check out
DIY Rolling Stamp - an inexpensive DIY craft that will give beautiful and eye catching designs to your surface!
Whether you make traditional art, doodle in a sketchbook or are new to illustration and digital art, there are tons of tools and apps to boost your creativity and streamline your work process.
The children spread colored paste over their papers and create striking patterns by twisting and pulling tools through the wet paste. For ages 6 to 13. Plan 1 session. KEY IDEAS Repetition of designs Working with negative lines and shapes Creating all-over patterns LANGUAGE pattern, negative, repetition, overlap YOU WILL NEED 9- x 12-inch sulphite construction paper or printing paper—strong enough to withstand being worked on while wet Colored paste (see recipe below) Bowls or wide-mouthed jars for holding the paste Several 2- to 3-inch flat paint brushes which can be found in hardware stores Stiff cardboard for making tools Extra objects for printing, such as wooden chopsticks, wads of aluminum foil, corks, small cardboard boxes or tubes (optional) Lots of paper towels Plenty of newspaper Iron for flattening the newspapers and dried paste papers BACKGROUND Colored paste was used to decorate paper in Germany, France, and Italy as early as four hundred years ago. Paste papers were mostly used in bookmaking, either for the covers of books or as the end papers inside the books. The process began to flourish in North America during the 18th century, and the same methods of twisting and pulling tools through the paste are still used today. Although there are several recipes for making the paste, I find this one easiest for children to use. One recipe will make enough paste to cover about fifteen 9- x 12-inch papers. For children who are allergic to wheat, you can use all rice flour. (The addition of wheat flour makes the paste easier to handle.) 4 tablespoons rice flour 3 tablespoons wheat flour 3 cups water ½ teaspoon glycerin 1 teaspoon liquid dish detergent Tempera paint Blend the flours together. Stir in a little water to dilute the flour and continue to stir while adding the remaining water. Cook over medium heat, stirring constantly, until the mixture resembles thin custard and just starts to boil. Remove the paste from the heat and stir in the glycerin and dish detergent to keep the paste smooth and pliable. After the paste cools, put it through a sieve to get rid of any lumps. Gradually add tempera paint to the paste to achieve the desired color. Be sure to test the paste. If it is too thick, add cold water. If the paste runs back over drawn lines, it is too thin and needs to be cooked longer or left open to air-dry until it thickens. The paste will last about three days in a refrigerator. THE PROJECT First Session Preparation Prepare the colored paste and test its consistency. Cut enough of the newspapers into half-sheets to be used under each paper while applying the paste. Creases will leave ridges in the dried paste papers so, if necessary, iron these newspapers flat. Cut plenty of tools from the stiff cardboard. You will need extra tools to replace those that soften from the moisture of the paste. Set out half-sheets of newspaper, paper for colored paste, and paper towels. Cover several work areas with newspaper. Each area should include one color of paste, brushes, and tools to be used with that color. How to Begin Explain to the children that they will be making paste papers, an ancient form of decorating paper. Colored paste is made by adding paint to a boiled mixture of flour and water, and then spread on paper. Twisting and pulling tools through the wet paste will leave negative areas where the paste has been displaced and create striking patterns. Demonstrate how to make a paste paper. Place a paper on a half-sheet of newspaper. Load a large brush with paste and glide it across the paper continuing over the edge onto the newspaper. Use horizontal strokes to cover the paper, then go back over it again using vertical strokes to assure good even coverage. Show the children various ways to pull the tools through the paste. Explain that negative areas are created by the displaced paste. Repeating these negative areas can create striking patterns. As you work, wipe extra paste from the tools with paper towels. Explain to the children that all-over patterns created by repetition (repeated designs) are particularly effective for paste papers. Designs that overlap (placed slightly over each other) can create an almost three-dimensional effect. Designs can also be created by stamping a paste-coated paper with various found objects. Be sure to wipe the paste from the objects before making each stamp. The first paste papers the children make should be exploratory to discover the effects of different tools and strokes. The second papers should be planned patterns using ideas from their explorations. Have the children choose a work area; place their paper on a half-sheet of newspaper; and begin exploring and making their paste papers. Before drying the paste papers, remove them from the paste-covered newspaper and place them on clean newspaper to avoid sticking. Note: As the paste papers dry, they will ripple and curl. They can be flattened by pressing them on the reverse side with an iron. NOTES You need to experience making paste papers before presenting this lesson to the children. This project is messy and may become chaotic if not well organized. The process can be simplified by having the children choose a color and remain in that specific work area for both of their paste papers. Plan enough newspaper-covered drying space. For the easiest application of the paste, use paper which is not too absorbent or too glossy. Sulphite construction paper is strong and easy for the children to handle. Regular construction paper is too absorbent. Printing papers work well, but tend to curl and ripple more when wet. Be sure the children put their names on the backs of their papers before applying the paste. It’s fun to experiment with different colors of paper. When the paste colors are mixed together they can quickly turn muddy. It is important to have tools designated for each color. The paste papers need to dry before the real effect can be seen. The ridges that are formed when the paste is displaced will dry flat. They will be deeper in color and appear almost three-dimensional. LET’S TALK ABOUT OUR WORK Are the paste papers filled with overall patterns? Discuss the patterns created by the negative shapes and lines. Look for three-dimensional effects when the lines and/or shapes overlap. What the children might say… The paste won’t cover the edges of my paper. When I pull the tool to make my design I keep getting puddles of paste. I’m pushing with the tool, but I can hardly see my designs. My tool is getting too squishy and isn't working well. Can I use more than one color? What you might say... Load your brush with plenty of paste and let each stroke glide across your paper, continuing off the edges onto the newspaper. Use a paper towel to wipe your tool often to avoid puddles of paste. Some puddles will form if you applied a lot of paste on your paper. When dried, these often add interesting textures to your paste paper. If your designs appear too vague, you haven’t applied enough paste to your paper. Paint more paste over your designs and try again. The dampness of the paste can make your tools become soft, so I have extras when you need them. Paste papers sometimes are done with more than one color. However, since the colored paste can quickly turn muddy when it is mixed, we are going to experiment with one color at a time. Click here to view this lesson in a printer-friendly format.
Explore Kyra Bermejo - 1055245129's 20 photos on Flickr!
Discover the joy of creating your own unique prints with potatoes! All the tools and materials you need to get started with potato printing.
I've used a wide range of carving tools for block printing, such as those made by Speedball, Power Grip, Pfeil and Japanese woodblock carving tools. I'm going to break down my research into two categories: inexpensive, budget oriented carving tools and more expensive, superior tools. I have some spe
10 Tools for Encaustic Monotype Printmaking. This list covers the essential and nice-to-have mark-making tools for encaustic monotype printmaking.
We spy tons of common tools and found objects for mixed media art. Rae Missigman takes us on a visual scavenger hunt to find all the ways we can repurpose everyday objects in our art.
