In the second session of our two-part wood intaglio workshop, participants experimented with various printing methods to learn how to get the most out of the technique. While wood intaglio provides a gorgeous atmospheric plate tone due to ink collecting in the grain of the wood and printing, this makes it difficult to achieve a full range of lights and darks. To overcome this limitation of the medium, we applied ink in only selected areas of the plates, added colour both by hand colouring the finished prints and by relief rolling inks over the prepared blocks (essentially printing intaglio and relief at the same time), and used paper stencils to block out some areas from printing.
Some of the proofs from day 2:
Hand colouring with watercolour paints over a finished print (printed in black).
Intaglio inking the block in black, then rolling gold and blue across the surface.
Combining the intaglio + relief technique with double dropping (re-inking the block in a different colour and printing it a second time on top of the first print).
Intaglio inking (gold) with some areas left uninked (white), relief inking overtop (blue).
Instructor demo: intaglio (black) and relief (blue) inking in selected areas, with paper stencils laid between the block and the printing paper for additional white lines (on the right hand side).
Recent Comments