Monday, April 24, 2017

Relief + Color Weekend Workshop by Pavel Acevedo




The workshop was conducted at
in Albuquerque










Pavel contributed a print to the Oaxaca Collective (Carpeta Nacional de Estampa en Mexico), which was organized by printmaker Irving Herrera (which has been a big inspiration for the Desert Triangle Print Carpeta):

Pavel Acevedo
showing and discussing


Later that week, the Oaxaca Collective Carpeta was featured at UNM (University of New Mexico), during one of the events of the Print//Make Symposium. 

La




A year earlier, Pavel was printing in El Paso, and gave a talk:





Prints by Workshop Participants

































THE PROCESS

Because most people want color, Pavel Acevedo devised a way to add color to relief prints using a monoprint method.


"Transfer Print" -- The first print will be used to later transfer the image onto an acrylic plate.  Mostly we made this print on cheap newsprint, since this print is temporary.


onto a small square area on  a glass slab,
until it has the right sticky sizzle/cackle sound,
before applying to the linoleum surface


Getting a temporary "transfer" print from the linoleum sheet


Later, Pavel found it easier to use a 
Print Frog glass barren 
(order from Dallas), 
burnishing by hand,
to make the "transfer" print onto newsprint paper






Pavel lays a thin piece of acrylic
on top of the fresh (not dried) "transfer" print,
and rolls that through the press


Pavel holds up
the thin acrylic sheet
after he transferred the image to it
with the press


Applying baby powder (talc) to the acrylic plate,
to dry the ink.
Rub in lightly with one's hands.


Pushing off the excess baby powder 
lightly with a cloth
(note the image is still on the acrylic plate)


Adding Color --  Pavel used Akua intaglio inks to roll colors onto the acrylic (monoprint) plate.  Cleans up with water or alcohol.  Oil inks work as well.


Used the Akua intaglio ink,
scooping it out of the jar with a spatula


Applying color ink with a small roller on the acrylic sheet
(the inked image is dried with baby powder,
and shows through while inking)


Finished acrylic plate
with just rolled red ink
(over "dried" talcum powdered image)
Going over the black image is ok,
since the overlapped red won't show in the final print

Monoprint First -- On good paper, Pavel laid an acrylic sheet the size of the paper (9 x 12 in), and then ran them both through the press, to transfer the image onto the acrylic plate.  Note again, he did not transfer the image directly from an inked lino block  to the acrylic sheet.


Printing the colored acrylic plate
on paper

Key Color Second -- Pavel places and registers the red monoprint over the linoleum block, inked with the black key color, and runs both through the press to create the final print.


The registration template,
is always a mystery to me



Pavel will flip the colored print,
and place it over the inked linoleum sheet,
and run it through the press


Viola!  A finished 2 color relief print masterpiece!


Two variations of colored prints,
next to the linoleum sheet


Satisfying color relief print!




More Fun!



UPDATE (August, 2017):

Kristin Thacter's print was spotted in the "Limited Edition" print show at the New Mexico Art League in Albuquerque (July 18 - August 19, 2017).  Review of the print show in the Albuquerque Journal:


Kristin Thacher
"Steller's Blue"
Linocut


Julianna Kirwin finished her print and showed it during her Open Studio in Albuquerque, August 12 and 13, 2017.

"Garcia Lorca"


3 comments:

  1. The class was a delight and it's wonderful to have the steps referenced here again in photos and text: the perfect guide for further explorations in this technique.

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