![]() If you use speedball ink or akua kolor you will not need the gum on a sanded plate. Just a little gum arabic makes a lot of difference. Plexi will work if you sand it really well and use some gum in your ink. I have used mat medium, but find it too will breakdown under printing with waterbased inks. Again, waterbased inks will lift the tape. I have done a lot ot prints using masking tape as the image, building up small pieces of it. Use the heavy duty foil, the thin stuff is easy to tear. If you use a lot of paste it might work, I have not tried that yet. Speeball ink or akua kolor ink will work on tin foil, regular pigment in water will bead up, of course, as there is no binder in it. Or you can cover the cardboard plate with tin foil and fold it around the back. Otherwise the waterbased ink will just wreck it in no time. If you use any type if collograph plate, cardboard or whatever, you will need to be sure you varnish it really well with real varnish. He sent me a small registration block and I immediately could see it would work for me with just a tiny modification. I really love his work and have a couple of his prints. I too learned this registration thing from Matt Brown, over the internet, as we are a continent apart. You do need to pay attention or you can find things move on you a bit.you cannot get to zoned in printing. The printing blocks fit into the L perfectly and it worked very well. This way I can move the mat board kento if I need a different paper size. I made a registration board with two strips of wood glued to a backing in a backwards L shape and rather than cut the kento into the wood, I glued on matboard strips with double stick tape where I would want the kento and covered them with clear tape to keep them from being damaged by the damp paper. I used it in exchange 26 and 28, it made little random dots all over the work. It gives an all over texture to the piece. I learned from Richard Steiner that you can use a piece of textured plastic glued to almost anything, (I used a piece of wood the same size as my block) and you can print it just like moku hangs, with waterbased ink. If you work so that the imagery you are adding to the woodblock design does not need to register exactly, it will be less stress. I have done all of it as I am a real process junkie. If you use other substrates for plates you will have the problem of things not lining up, and the registration will make you crazy. Sounds like you are really talking about using different plates, not different inks. I got some interesting effects by doing this. Otherwise, waterbased inks will soak into the surface fairly rapidly. Had been painted with acrylics first, to give it a slicker surface. Having said that, I personally have done monoprints using wood that Pieces of metal adhered to the work, fibers, etc. Other elements to the basic piece, such as papers in a collage, Whereas "mixed-media" has come to mean a piece of work where you add "multi-media" has pretty much morphed to mean using differentĪrtist's materials, like oil paints, acrylics, inks, water-based, oil I think one issue is that the term "mixed-media" means a whole lot ofĭifferent things to different people. >I'd see if anybody had any tips/experiences to share. >waterbased inks on wood? I plan to try all these things myself, but thought ![]() >watercolors? Collagraph with watercolors? Can you pull a good monoprint with >would integrate smoothly with moku hanga? Can you do drypoint on plexi with ![]() >I guess the question I was trying to ask was, what other printmaking methods I'd see if anybody had any tips/experiences to share. Waterbased inks on wood? I plan to try all these things myself, but thought Watercolors? Collagraph with watercolors? Can you pull a good monoprint with Would integrate smoothly with moku hanga? Can you do drypoint on plexi with I guess the question I was trying to ask was, what other printmaking methods With water-based inks, and I'd like to stick with wood as much as possible, Iįeel committed to working in a home studio, working without a press, working Printmaking and really enjoying the range and variety of what's possible. Throughout the year I've also been researching and looking at all sorts of I've been focusing on moku hanga because that's what Matt taught me, but Where I'm comingįrom is that up until a year ago, printmaking was barely on my radar at all, I'm not sure if I can get more specific just yet. Thanks everyone who responded to my question about mixing
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