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Professor Truszkowski
Registrace 3. 01. 2017
Printmaking at the University of Regina
How to Make Compressible Gauge Pins for Letterpress
Using double-sided foam mounting tape and scrap mylar, you can make Compressible Gauge Pins; an absolute necessity when printing Photopolymer letterpress plates using an aluminum or steel printing base on a platen press.
Note: I have always loved Henry Compressible Pins, available from Boxcar Press in NY, but my students just mangle them! It was time to start making them in bulk, in-house.
Note: I have always loved Henry Compressible Pins, available from Boxcar Press in NY, but my students just mangle them! It was time to start making them in bulk, in-house.
zhlédnutí: 367
Video
Making an Aquatint Etching
zhlédnutí 6KPřed rokem
In this video, I demonstrate the process of creating an Aquatint with multiple values, using Step-Etching.
Setting the Etching Press Fall 2023
zhlédnutí 2,5KPřed rokem
The Ettan Etching Press is getting old, and the intro class beats the poor thing to death every semester! Here is how to set the press for printing, without having to touch the pressure adjusters. The pressure is already set, so all you have to do is let the cylinder climb up on top of the blankets, and you're ready to print.
Putting Winter Booties on the Pug
zhlédnutí 250Před rokem
Winston Jean-Valjean Fuffy Cummings-Truszkowski is dressed for a walk in Saskatchewan Winter. -30C / -22F
ART290JP: The Art of Kyoto
zhlédnutí 470Před rokem
Come explore Kyoto, Japan with me in May 2023. ART290JP: The Art of Kyoto is a 3 credit study tour course, here at the University of Regina. Interested? Watch the video (!) and send me an email: robert.truszkowski@uregina.ca or message me on Instagram: @professortruszkowski
Airbrush Aquatint
zhlédnutí 1,5KPřed rokem
Setting up the Paasche H airbrush for aquatinting a copper etching plate at the University of Regina.
Printing an etching
zhlédnutí 3,3KPřed 2 lety
In this video we will print a copper etching from start to finish. Soaking paper, setting up the press, inking and wiping the plate, printing, and cleaning up are all demonstrated at the University of Regina studio.
Printing Linocut by hand
zhlédnutí 2,4KPřed 3 lety
This video is about Printing a Linocut by hand, at home. In this video I am using Gamblin Relief Ink (oil-based, Prussian Blue), and cleaning up with vegetable (Canola) oil, and a variety of non/low toxic household cleaners such as Simple Green, Uline General Cleaner, and generic glass cleaner (fake Windex). It's possible to do very intricate, detailed, and beautifully executed relief printing ...
Three Layer Relief Print using 2 Blocks
zhlédnutí 310Před 3 lety
A very simple explanation of a Three Layer Relief Print using 2 blocks. Block #1 is Reductive... The yellow layer is carved first and printed several times so you have enough for your eventual edition. It is then cleaned, and carved further to *Reduce* the printable surface. It is then printed in blue, over top of the yellow. A third layer is carved in a separate block, and printed *Additively*...
Sharpening linocut tools
zhlédnutí 8KPřed 3 lety
Sharpening linocut tools using a 1000 grit whetstone, followed by a Flexcut Slipstrop! Sharp Pebble Whetstones www.amazon.ca/dp/B082YGC5SL?ref=ppx_pop_mob_ap_share Flexcut Slipstrop, for Polishing and Deburring V-Tools and Gouges www.amazon.ca/dp/B00FX9MHIG/ref=cm_sw_r_cp_api_glt_i_GVVKHQCV3N1WF91ZS1AJ?_encoding=UTF8&psc=1
Printing a linocut block with a press
zhlédnutí 1,3KPřed 3 lety
Printing a linocut block in the University of Regina studios.
Basic cleanup for inky roller, tools, & glass
zhlédnutí 561Před 3 lety
Basic cleanup for inky rollers, tools, & glass. The products we use for cleaning oil-based inks in the University of Regina Printmaking studio include // Biodiesel (B100) - non-toxic, and made "in-house" Vegetable Oil Vinegar Roller Cleaner (water and liquid dishsoap) Simple Green commercial non-toxic cleaner
Transferring imagery for linoblock printing
zhlédnutí 559Před 3 lety
In this video we transfer imagery between linoblocks using two different methods. Knowing the position of imagery from one block to the next is key to the successful planning and printing of multilayer prints.
Stone Lithography - 2nd Etch
zhlédnutí 4,7KPřed 3 lety
In this video we use Biodiesel to replace the traditional solvent wash-out procedure, followed by an asphaltum printing base. Remove the gum layer with clean water, wet-sponge then dry-sponge, and roll up in Graphic Chemical Shop Mix black. Once the image looks good, dry, rosin and talc, and apply etches. Buff! Buff! Buff!
Registration Hangers for Printmaking Pins
zhlédnutí 948Před 3 lety
In this video we affix strips of mylar to the backs of good Printing paper. The strips were pre-punched with the Stoesser plate punch, and then aligned by eye on each sheet of paper and taped in place. This method works well when punching the paper directly is not desired or possible. Once all the Printing is done, you remove the hangers, and save them for next time!
Two Registration Methods on the C&P Letterpress
zhlédnutí 1,3KPřed 3 lety
Two Registration Methods on the C&P Letterpress
Should I run it through the strop before each use to keep it sharp?
The University of what now?
😂 you noticed too :p
Too much health and safety!!
The 30 seconds where I explain to my students how not to hurt themselves using a heavy and awkward device they've never used before on a heavy and awkward slab of limestone is too much health and safety? ¯\_(ツ)_/¯
I think so yes. Everyone knows how to pick things up
Thanks so much for sharing this video. Can you provide a link to where someone can find the medium and inks in Canada, please?
I get the UV base, made by Smalls UK, from Willox Graphics, in Vancouver. The pigment dispersions are from Kama Pigments, in Montreal.
Excellent demonstration and talk. Thank you!
You dont name how you made the soft ground ? It is just wax?
We use Charbonnel Soft Ball Ground, applied with a roller on a hot plate.
Another method to accurately replicate intaglio plates, without being an artist, is to Electro form them. (chemical replication) it is much much simpler than this and you wont even miss a whisker. 🤣
Such an awesome video! I'm a printmaking student working on my first copper etching. You've helped me improve my wiping!
Good luck!
So what's the difference between a normal intaglio print and a chine colle print ?
The Chine collé process involves the addition of the glued washi paper being printed and adhered to the heavier "backing" paper. It is in the family of Intaglio Printmaking. Regular Intaglio printing is when the plate is inked and printed to the heavier paper, directly.
That's an unusually nice litho stone, no breaks, imperfections, or hairline cracks. These days few people recognize the labor required and special qualities of stone lithography. I always tried to avoid using the old Fuchs&Lang press since the Brand press was so much better in every way.
Wow
How are the grey tones reproduced without a half tone screen ?
There is a halftone in the original laser print!
Why a greased scraper bar instead of a roller?
What kind of ink you use?
Hi, I use either Hanco Warm Black Etching ink or Graphic Chemical Vine Black. Both are oil-based. Water-based inks will not work with this particular process.
I've been interested in lithography for awhile now but it's really hard to find a lithographic stone. The ones I'm finding are all used and battered and still really expensive. Does anybody still make them?
Hi, buying "new" litho stones is almost unheard of. I suggest you find a printmaking studio or university art programme in your area to connect with since they may have leads on good used stones or ones that someone is giving away. They might even be able to help you get an old stone nice and flat and printable again! Good luck.
0:43 Is it really necessary to remove the felts from under the roller after the work session? Since I work alone I never do it, but now I'm wondering if it's so they last longer..Thank you very much for your videos !
Well, the great thing about having your own studio and your own equipment is that you can do whatever you like! And chances are good, that the equipment and facilities won’t get beaten up quite as badly as when they are shared with 30 students. That said, the reasons for disengaging the blankets are threefold: 1. Blankets can develop flat spots if left under pressure for long periods of time, and this will affect printing. 2. Particularly after a gruelling printing session, the blankets can become damp all the way through. Disengaging them from the press, spreading them out a little and flipping them over the cylinder allows them to dry. This will extend the life of the blankets as well. 3. The various parts of an etching press are capable of exerting high-pressure, and even the most robust machinery is susceptible to wear and tear when under strain without a break. Disengaging the blankets and centring the press bed, ensure that no part of the set up is strained unnecessarily. Hope that helps! Happy printing.
@@professortruszkowski Thanks very much! Now it’s clear for me !
Thank you for sharing this!
Would you mind sharing where you buy Soyclear from? I'm interested in moving away from using mineral spirits for my press cleanup!
🎉🎉excelente ....la tipografía nos une con el origen de la educación
Thanks. Such a clear deomo. :-)
anyone else here due to the use of the word "aquatint" in Brideshead Revisited?
Very nice. 👍🏻
Great Thank you
Great video. One question: did you remove two layers of mylar at the beginning? My Puretch has two layers.
I removed the “bottom” layer before applying the Puretch to the plate. The top layer is left on until after exposure and just before developing. The bottom of the film is easily identified as the underside of the natural curl in the roll.
nice clear demo! Thanks!
Thank you for this!
I use southern ink, you can use vegetable oil and vingear for cleaning instead of cleaning with mineral spirits? I didn't know that!
Excellent.
I was there at the end of the last century. That press did not have that safety stop then. Another student got her finger in there. The press became totally off limits to everyone but very trusted students. Now even with the safety its an intimidating machine, it chugs along very much like it could pull you in and flatten you entirely without even flinching.
Great video. Thanks.
Thanks for posting this, it’s clear and concise.
Eu tenho uma tipografia, uma máquina igual a sua. Trabalho até hoje. Parabéns
xXX👍👍👍
Fascinating, Thanks.
Eu tenho uma tipografia e trabalho com ela até hoje
I'm going to be learning stone lithography in August and my instructor said we could use this technique to start with, as i don't have a lot of time to draw my image on the stone.. Im pleased you can still add sketch marks after transferring your photo. Thanks for a very clear demo.
Thank you for the great explanation! It really helped me to understand the technique! (:
Thank for instruction my very good friend. God Bless
Thanks for this! My Mum Janette Thompson was an amazing printmaker who used this technique back in the day. What's the safety of this technique? She passed away from MND a couple of years ago unfortunately, and thinks some of the chemicals used for printmaking may have contributed!
Thanks for your comment. Very sorry to her about your Mum. Old school Printmaking was notorious for being necessarily toxic. Many Printmakers found themselves with illnesses, allergies, or sensitivities that were directly related to the chemicals in the Print studio, and more importantly, the very poor handling of them. To be honest, there are still many, MANY studios doing things the wrong way, in my opinion. And as an aside, women Printmakers (or anyone outside the "old boys club" often got stuck in a hopeless situation; they had to be tougher and even less worried about showing weakness than their male counterparts, which made them prone to illness and injury. But I digress.) This process uses a mix of non-toxic, and more traditional (toxic) materials. The "Sugar Lift" mixture itself is just Corn Syrup + India Ink + Dishsoap, so quite harmless. The Liquid Hardground is made by Graphic Chemical, and not the most pleasant material around, but we use dedicated ventilation to draw fumes from the workspace, as well as employ Nitrile gloves, and careful handling techniques to ensure that we don't breathe, ingest, or come in contact with anything we shouldn't. When treated with care and caution, most art materials can be used safely.
Very nicely explained!
yoooo first comment suckers
hi! what is the width of the ruler you used to make the cuts in the tympan? i've been struggling with registration and this video is so helpful! would love to find a ruler like that.
The little ruler I use is 1.5cm/15mm wide, or just under 5/8". Believe it or not, this ruler was the prize in a "Christmas Cracker" several years ago. It popped out and I was like, oh my! This is going to be perfect! If you happen to be in Canada or the US, Lee Valley Tools makes a nice 6" long, thin metal ruler that is about 1mm thinner, but does the trick nicely.
If you happen to have a fully decked out etching workshop here’s what you do.
🤓
Hello, Would you recommend Ettan press for etching and mezzotint?
Hi, my Ettan presses have been workhorses. I’ve used them for 17 years, and they were here for at least a decade before that. They are excellent for intaglio printing generally. I don’t think they are being manufactured anymore, however. If you come across a used one in good shape, I would say go for it!
Gosh THANK YOU that’s Columbus’ egg ! A couple of years ago I went crazy to place those bits of pre-glued paper exactly where they needed to be ! Now I can’t wait to give it another go ! So any washi paper ? And fuzzy side to paper or to plate ?
How do we remove the stickiness off a roller
I don't really know what you mean. What is the sticky substance? Why is it sticky? Are you referring to the metal pressure cylinder?
🙏🙏🙏
I came for a print tutorial. What I got was something greater. A fashion icon.
🐕🥾🥾
This was exactly what I needed to know. Thank you.