Artists’ prints Chine-collé Collagraphs Carborundum Edition Intaglio Linocut Monoprint Monotype Relief printing Screen printing Tapa Viscosity Woodcut
Are original prints. They are made by working on a plate, such as metal, lino, wood, or perspex to produce an original image, and should not be confused with reproductions. All Deborah’s prints are originals.
Previously glued Japanese papers adhere to the printing paper at the time of printing, as the inked plate is wound through the press.
The plate, of card or Perspex, is built up using various materials, including sand, metal, plaster, glue, collaged papers. These are glued and sealed, before being inked up and printed. Printing can be intaglio and/or relief.
An Abrasive grit which holds the ink, can be sprinkled onto PVA glue directly on the plate, or mixed with PVA glue, paint and water and painted onto the plate.
The agreed total number of any one image printed by the artist. Each print is numbered in a certain way; e.g. 5/10 would indicate print number 5 out of an edition of 10 prints.
Intaglio includes etching, drypoint, aquatint and engraving. Here the ink is taken from within the incision. The image is bitten by acid or cut with a tool into metal or plastic. The whole surface of the plate is inked, and wiped clean but leaving the ink in the cut lines below the surface. Dampened paper is placed over the inked up plate which is then wound through the printing press. Printing requires greater pressure than that used in relief printing.
A method of obtaining a relief print by cutting, or etching with caustic soda, into a piece of lino. The surface is inked using a roller and the print is taken either in a press or by burnishing the back of the paper with a barren.
Only one print is taken from the worked plate.
A unique image is made on a metal or Perspex plate by painting with oil based inks, and printed onto paper using an etching press. Only one print is possible from each image.
Relief printing includes techniques such as Woodcut, and Linocut and is where the ink is taken from the top of an incision. On wood or lino the image is created by cutting away areas to be left white. The remaining raised areas are inked with a roller and then the paper placed on top. It is printed using light pressure in a press or by hand.
A stencil is created on fine mesh on a screen. Ink is pulled through the mesh using a squeegee onto the paper underneath.
This is a Polynesian paper, and comes from the inner bark of the paper mulberry tree.
Inks are mixed with oil of varying thickness to apply colour to different levels of the plate, producing exciting colour juxtapositions.
A relief print made on side-grain soft wood. Knives, woodcutting tools, and chisels are used to cut away the areas to remain white. Woodcuts are bold and should not be confused with wood engravings, which are much finer and made by cutting across the end grain of hard wood.