"Relief" ink is on high surfaces.
"Intaglio" ink is in low surfaces.
"Stencil" ink goes thru gaps in stencil.
"Lithograph" metal with charged/uncharged areas.
6-700A.D. paper is in Europe where printing became modernized/industrialized.
"Singular Matrix"
"Multi-matrix" / color
"Expanded pratice Monoprint"
Demo - Litho ink out of can, "skim" top with knife, transfer to slab and work with knife. Miracle Jell is reducing agent if ink is "stiff," to make "loose" depending on use: large prints usually will have stiffer inks for detail. "Viscosity"
"Brayer" = roller has a resting position; use to keep roller round.
"Slab" is surface ink is rolled on, glass, plastic, etc.
"Skin" pieces of dried ink; need to be picked out of ink.
"Manage ink supply" roll out a very little at a time and freewheel roller to even the ink on surface.
Roller Press needs to be adjusted no more than one turn per side so roller won't torque. Note the Horizontal/vertical numbers which read like a fraction. 3/4
"Blanket" evens press pressure on block. Paper where image will transfer is on press platform, (may be "packing" one or two other pieces of paper under it, if more cushion needed for a desired effect). There should be a newsprint paper above the block to protect ink from getting on blanket.
Press roller adjustments should be "hand tight."
When turning project into roller, start roller going by hand so it doesn't make a hard bump that might shift work. "Bearers" are leading/trailing pieces of wood to help press roller go smoothly over inked wood.
Smooth or textured papers. Rives BFK 22x30 (3 sheets), 100% cotton archival, and Rives lightweight for class.
After printing - Keep notes on print set-up to duplicate (sharpie on block).
"Ghost print" - print on newsprint to get ink off bloc, the strip with paint thinner and rags that need to go into red can after use. Carve after dry.
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