Casey’s Techniques
At the press, pealing back a print having used a resist that I cut out from paper to create the vine shape.
MONOPRINT
Monoprinting is called the most painterly of all the print making techniques. The appeal of monoprinting is the unique translucency that creates a quality of light very different from painting directly on paper. It's a spontaneous combination of printmaking, painting, and drawing mediums. Each print is unique. A monoprint is a result of pressing on image that has been created on a flat surface (like a Plexiglas or metal plate) into the fibers of the dampened paper. Ink or paint is applied to the plate. The paper is placed on top of the plate and run through the press with pressure. The paper is then lifted up and voila!
An image can be created using multiple layers of objects, leaves, lace, or made flat forms to act as a resist or additive. You can print many times over with additions, or print the (ghost) which is the remaining image on the plate. Variations are a rich part of the process.
Rolling the plate with yellow etching ink.
Photo credit: Susan Teare
MONOTYPE
A monotype is the same as above but uses no objects as resists that are repeatable. A clean unetched plate is used with no reproducible parts.
COLLAGRAPH
Collagraph created with maple seeds attached to a piece of matte board
A collagraph (also spelled collograph) is a low relief printing plate created by the artist made from layers of cardboard or other textured materials glued to a flat surface. The surface is inked or painted and then wiped down to the desired amount of remaining ink or paint. Dampened paper is place on top and then run through the press.
Preparing a collagraph with cut out paper
Preparing a collagraph of fossils using sketch, cardboard, and glue patterns
DRY POINT ETCHING
A dry point etching is made from a flat plate (like plexiglass) that has an image drawn into it with an etching pen. The plate is inked with a brayer or brush, the ink is then worked down into the lines and wiped away with a tarlatan or other absorbent medium. A final surface rub can be done to remove any unwanted surface ink. This method of removal is called intaglio. I often add inks back onto the plate surface before printing. You then place dampened paper on top of the plate and run it through the press. You peel the paper off the plate for the result.
GICLEE
At Cone Editions Press. A picture of Casey Blanchard, artist, with Jon Cone, co-founder, owner, and guru of Fine Art Digital Print Making. (www.cone-editions.com)
Giclée is a fine art printmaking technology where images of the original artwork are generated from high resolution digital scans or photographs, and printed with archival quality inks onto fine art archival paper, or even canvas. The giclée printing process provides better color accuracy than other means of reproduction resulting in an image maintaining all the tonalities and hues of the original artwork. The giclées I have produced use pigment-based inks on uncoated paper.
A giclée image presents the ability to reproduce fine artwork to almost any size, with the benefit of archival properties. Quality giclée prints are commonly found in museums, art galleries, and photographic galleries.
MOXIE PANEL
A close up a moxie panel. The quality of the image remains pristine, but it is far more durable than an original.
Aluminum panels, or “Moxie Panels” are another way of reproducing an image. Each panel is treated with a protective overlay to prevent damage from moisture, UV, scratches and strong cleaning agents keeping its maintenance minimal to none. Colors and general appearance are unaffected for 7 years. Each panel is equipped with a cleat mounting system, which allows for simple hanging. Each panel is rigid and flat and unaffected by wide fluctuations in temperature and humidity, ideal for both interior and exterior settings. They are available in any size. This is a great option where the product needs to be cleaned regularly, like in a hospital, hotel or restaurant because there is no glass, and no frame.
