Printmaking Tutorial Demonstration - Drypoint Print from Plexiglass - design, inking and wiping

[@SallyDion]

Thank you for posting such great content for printmaking. My students really enjoy your videos and the good explanation.

[@bdelpesco]

Hi Sally! Thanks for your feedback, and I hope your good deed of introducing printmaking to young people brings them a lifelong love of the process.

[@OwhondahWisfine]

Wow! Very clear and neat. You're doing wonderfully well Ma'am.

[@bdelpesco]

Thank you!

[@leashthedustyboots3937]

Thank you for such great videos. I am a graduate printmaker and have forgotten a lot of what I was taught (10 years ago), the ease of home printing you show is reassuring. Thanks again. Leash

[@bdelpesco]

Hi Leash - thanks for visiting! I hope you get back to printmaking sometime soon. Even after decades away from it, you never forget the intuitive part of the process, and the sequencing & minutia of the details comes back - right away - as soon as you sand a block, and smell ink. :) happy printing!

[@nachtschimmen]

This is my favourite film about the "inking & wiping" that helped me make sense of the process. This time I got a lot out of the cross-hatching part. My early perspex engravings had hardly any hatching at all and it took way too long for me to work out that the reason I was not doing it was because the 3-D embossing folders I've been making produce shadow and depth naturally whereas any other type of drawing requires you to create it artificially. This makes better sense now that I see how you transfer the sense of shadow from an existing print out of a scanned image. The lamination engraving technique is working well; I laminate a piece of my graphic art, then I glue both sides to another lamination folder and send it through the laminator again. It fixes hard around the image and is absolutely engravable...

[@bdelpesco]

Hi Zachar - I can visualize how your lamination process works now, so thank you for the description.

[@noapology88]

Hi, Belinda! Love your work, and the fact that you are willing to pass on your knowledge to us neophytes...you are an inspiration!

[@bdelpesco]

Hi No Apology, Thanks for the compliments, and a clink of my coffee cup to yours in a toast to the fact that we're ALL neophytes. Fan that inspiration by some making stuff soon. :)

[@Alfrixpl]

thank you very much for this video, i was sick during classes about drypoint in my art college and wouldn't be able to finish my assignment without this tutorial/demonstration

[@bdelpesco]

Hi Alfrix, I'm sorry you were sick, and I'm glad this tutorial was helpful. Did you already finish your print edition? What did you make?

[@Alfrixpl]

@@bdelpesco I made a picture of a small cup, nothing great as your artwork but im happy with how it turned out.

[@bdelpesco]

Hi Afrix, no comparisons allowed, unless it’s to your own work made previously as a yardstick of your progress. :) But thanks for your compliment. I hope your class is effective, and your grade is good. Keep making art. 👌🏽

[@SadafMirza]

Always a treat to watch and listen.

[@bdelpesco]

Always a treat to hear from you, Sadaf. Thank you. 🤓

[@victoria_ie]

Gorgeous. Thanks for sharing!

[@Z3NDOGZ]

My gosh you have SUCH a beautiful press! I would absolutely love to have a workspace such as yours in the future

[@bdelpesco]

Adolphus Tips Thanks! after two decades of printing on borrowed or no press, it is by far the most favorite "art supply" I own. :) Keep hoping/planning/working and you will have one too.

[@RobertoFasciano]

Beautiful work and tutorial! COMPLIMENT.

[@bdelpesco]

Thank you, Roberto!!!!

[@RobertoFasciano]

@@bdelpesco you're welcome.

[@hersailor]

I have a lot of background in working and teaching in this medium. I mention this so you can qualify my flattery. I have done a little work in plexiglass and was surprised to learn how well it lent it's self to the process. I'd like to suggest a non reflective for an aquatint like finish and burnish back for light as if in a mezzotint plate. Also the older electric engraver if they still make them was a wonderful tool for tree leaves and such. The scratch as far as a trace goes works best on a then lexon and then a backing to raise it up. I came into etching when I was homeless at Berkeley ASUC and found there are so many ways around the expense of materials. Even the press itself, if willing to do relief prints. Thank you for your wonderful video Belinda.

[@bdelpesco]

Hi Will, Thanks for stopping by and adding to the idea-and-supply-kitty. This is one of the beautiful side-benefits of art-making; community, and a plethora of material options, approaches and discoveries. I appreciate your additions to that, and your compliments.

[@hersailor]

I have always seen artists as scientists. People who share as their heart opens up. I'm actually doing a copper plate etching at the moment and considered a vid if there were not any already on the TUBE. Looks like the subject is well represented. I am a sailboat artist who wants to do art on a boat. Mostly just building toward it now. The race gets tighter as I age.... Thanks for the holler Belinda.

[@corinnaberlin2877]

Thank you so much for generously sharing this demonstration.

[@bdelpesco]

Hi Corinna! Thanks for stopping in. I'm glad you found it useful. :)

[@elizabethwooley3385]

Hi Belinda, I've been enjoying your videos they are very clear and I'm especially interested in your drypoint on plexi demonstrations. Like the black plexi lst time of seen or heard of such a thing. I might try it. Thanks for the videos!

[@PROMODZoCOM]

You have a very skilled and steady hand. Great vid :)

[@bdelpesco]

Thanks for the feedback @promodz! :)

[@Usmankhan-zi3xt]

thankx for upload im glad that im not alone with this technique

[@batzeth]

Very charming work!! i would like to try. I am not sure if i understood the steps, my english is very basic. did you use a photograph as a reference? or was the painting with the yellow wall? Are this the steps?: 1. prepare the plaque on the edges (is it posible to do it in the end after the finished the etching?) 2. Engraving a sketch from a photograph direct on the plaque and print it. 3. scan and print to paint it with watercolour to make the tone values. 4. use this watercolored print of value study as a reference to finish the already sketched plaque. i am a bit lost but tanks a for this inspiring video

[@bdelpesco]

Hello Batzeth - maybe try this simpler version of a drypoint engraving: kzbin.info/www/bejne/bmfRg4qNabWJb68si=iDgrKHQMOYsxpPkp

[@shubhrasing4456]

hi dear i love ur printwork in drypoint

[@smellyrhinostudio]

Nice work! Thanks!

[@bdelpesco]

Thank you, Seagirlrun! I appreciate the encouragement.

[@buntowniklaska3226]

Ciekawa technika ,przepięknie wykonane gratuluję i pozdrawiam.

[@bdelpesco]

Dziękuję za komplementy i życzę wielu godzin szczęśliwego tworzenia sztuki!

[@lucygroah]

Wow, what a great video. That was so helpful, thank you! Now I'm inspired to get printing! Thanks Belinda!

[@bdelpesco]

Hey there, Cheryl, Thanks for the comment! Now, grab your art supplies, and make something! (And don't forget to share it when you're finished.) :)

[@NickVenture1]

Wow

[@bdelpesco]

😊

[@williamgyles1235]

I have to a drypoint for my class and it has a lot of dark spots and this really helped me.

[@bdelpesco]

Hey William, thanks for stopping by. I'm glad it helped, and I hope your print comes out beautiful! Happy printing!

[@Flux_One]

Thanks for the video, but why destroy the plate after printing? It would look great in a frame. Or even just kept and archived.

[@bdelpesco]

Thanks for the visit, +Scotty Simpson The practice of striking a plate was done (historically) to guarantee that further prints were never pulled beyond the initial edition, so collectors of an edition of 8 could be assured that there are only 8 prints, and no more than that. There are accounts of "new editions" being pulled, exhibited & sold long after an artist's death, sometimes even with the strike marks (crossed out face or holes drilled in the corners). There's nothing stopping a printmaker from displaying a plate or archiving it, but traditionally, they are destroyed.

[@lynnedjones]

Very interesting and what a beautiful print! Thank you

[@bdelpesco]

Hi Lynne - thank YOU for the feedback, and the compliment. ☺️

[@jimm9052]

Really enjoy watching your drypoint etching videos. I've search for examples of the use of mezzotint rockers being used on acrylic or acetate plates; haven't found anything. Have you used a mezzotint rocker on acrylic or acetate plate? If any exist that you know of, would you please provide a link where the use of this tool is used on these type of plates. Thank you.

[@bdelpesco]

Hi Jim, Thanks for the feedback on the videos - I'm glad they're helpful. I've never seen or heard about someone using acrylic or mylar to create a mezzotint with a rocker. The action of smoothing the incised lines to create light areas on a metal plate works because the soft flanges and grooves in the copper can be flattened with light pressure, and polished to a shine that will release ink during wiping. I'm not sure you can do that with an acrylic plate or mylar. I've tried "buffing" line work out of an acrylic plate on a drypoint, and I couldn't fill the grooves by manipulating the polycarbonate with any tool in my arsenal. Ultimately, I used 400 grit sandpaper, but the area still held ink and would not return to a smooth enough surface to print light. Does that make sense?

[@jimm9052]

@@bdelpesco Thank you for your reply. I was thinking more of the texturing effect a rocker might provide on acrylic plates rather than using it as an aid to buff out any line work. Again, thank you.

[@bdelpesco]

@@jimm9052 Ahhhh, okay, that makes sense. I think it would work beautifully for that - especially if you're after a crosshatch that appears parallel and consistent in it's ink-holding abilities.Have you tried adhering carborundum to your plate, as a test? You get beautiful, rich darks.

[@abcd-gp6is]

Thank you 💜✨

[@bdelpesco]

You're very welcome!

[@DaDoodler]

Hi, very informative video, and clever usage of plastic sheets! Not that it matters for you're use case, but it is essential for those that might follow your instructions but will be using a Co2 laser instead of hand engraving the print media (plate). You mention quite a few plastics and brands in the beginning of your video, besides that it is not quite correct it could give consequences for people following your instruction using a Co2 laser. Just to help clarifying, PlexiGlas and Perspex are brands of the plastic Acrylic. Acrylic is generally considered "laser safe/laser friendly" when using Co2 lasers for machining. Lexan is a brand of Polycarbonate. Any polycarbonate is largely considered as a "No-No" when it comes to Co2 machining. This mainly due to two factors, polycarbonate can be laserd but it does not cut well. Due to the wavelenght of the laser and the energy needed to cut polycarbonate the cuts show big signs of melting and has a yellow-brownish tint to the cut. But most importantly when laser cut. Polycarbonate emits smoke, fumes and vapors containing benzene. A carcinogen.

[@bdelpesco]

Hi Purple Orange - I'm not planning to use a laser to cut my plates, but this is good info if anyone else plans to do that. I do mention the health factor related to inhaling fumes in this video kzbin.info/www/bejne/fJicimurh71kbcU , so we are aligned on the importance of safety, with a hip bump and a high five! :)

[@bdelpesco]

@104355026806276705545 - Thanks for stopping by! I'm glad the videos are helpful. Let me know if you have any questions in your experiments with plexi!

[@harshitxart]

Thank you for explaining

[@bdelpesco]

You’re welcome, Harshit. 🌞

[@JDLandscapePainter]

Why do you use cheese cloth and newspaper to wipe away? What does each do differently that requires the use of both? Thanks again for your wonderful instruction and effort!

[@bdelpesco]

Hi Janett, Cheese cloth is used in cooking, but here - it's called tarlatan, which is starched and stiff. The open weave and rough texture pulls ink off the plate pretty aggressively. Since the fabric is stiff, and tapped into a flat shape before rubbing the plate, it barely scrapes the top of the ink laying hidden in the incised line work. Since it's used to get the bulk of the ink off the plate's surface, it becomes loaded with ink, and after awhile, it just pushes ink around. Then, you switch to newsprint, also patted flat, to polish the un-incised parts of the plate, and remove some of the remaining veil of ink. Make sense?

[@bdelpesco]

Watch this video too, for more on tarlatan and newsprint and wiping plates in general: kzbin.info/www/bejne/nqmzdYGvgtaqmsU

[@ste6eliasek]

How thick is the plexiglass glass or is there a range of thickness that works best?

[@bdelpesco]

Hi Sharon, Most plexiglass sheets will work for this process - everything from recycled plastic produce containers to 1/8 inch acrylic or plexiglass. The really thick stuff may not work on a press, depending on the space between your press bed and the cylinder. Do some tests: use a small snip of acrylic sheet from a plastic cookie or tomato package, and scribe some line work and cross hatching patches so you can ink and print that, and see what works best with your ink, your paper, and your transfer method.

[@chesterarebest]

Informative and clear. Thanks.

[@bdelpesco]

Thanks for the feedback, Chesterarebest!

[@HorribleGamingFun]

Um, you said the plate is destroyed, can you clarify what you mean? Like, do destroy the plates intentionally or is it destroyed over time by repeated printing?

[@bdelpesco]

Hi Rivyn - When original prints are pulled in limited editions, it’s an option to “strike the plate” - by marking it with a big engraved X, or drilling holes in it…. Something that prevents more editions from being printed, so in effect, the plate is destroyed.

[@AstroSirrus]

Great art! Great tutorial! Where can I purchase a similar press?

[@bdelpesco]

Hello, SirGrey - Thanks for the compliment. I'm glad you found the video useful. You can get the same press from the good, kind, customer service oriented folks over at Takach Press. They are amazing to work with. My press is the best, most favorite art supply I've ever purchased. takachpress.com/etchtbl/index.htm

[@wisecracker1294]

Hi Belinda - I'm intrigued! I've been re-discovering block printing starting with linocut prints. I've been very disappointed with linocut and don't think it's for me. I'm not ready to give up yet as drypoint looks interesting, but I've got a few questions: - How difficult is etching the plexiglass? I've got a bit of arthritis in my hands from so many years of doing crafts so I need to know. - Can you do techniques similar to linocut, like being able to print some areas as blocks of color, while also having the nice black lines? - I can't afford a printing press right now - not until I play with this technique for a while - so can I just rub the back of the paper and still get a reasonably good print?

[@wisecracker1294]

Hi Belinda - Thanks for all your replies and all of the wonderful tips in your videos! I am currently working on a thin piece of MDF art panel (normally used for creating an oil or acrylic painting). I have seen videos where artists work on thick (3/4") MDF panels purchased from the lumber store, but I tried a piece and the surface seems harder than the art panels. I stained the panel with a medium gray color. I've carved part of it away and it is looking pretty good so far. Because I am just creating shavings as I carve away, there doesn't seem to be any problem with dust. However - I may need to sand the surface slightly to remove any burs before proceeding to the next step. I will try to damp sand the surface to keep any dust down. As for the Drypoint on plexiglass - I don't think it will be for me due to my arthritis.

[@bdelpesco]

Hi Wise Cracker, It sounds like you're on a roll, and you'll be an expert in using MDF art panels to make collagraphs in no time at all! I hope you post the results of your work somewhere (share a link here so we can all see). And regarding painful joints and fingers due to arthritis, if you do get a hankering to make a drypoint, look into using a tool to scribe the plexiglass, like this hand-held dremel: www.dremel.com/en_US/products/-/show-product/tools/8050-micro

[@jbl1969]

Very cool.🤗

[@bdelpesco]

Thanks, JJ - I hope you make one soon. 👩🏻‍🎨

[@noobyMQ]

Than you for your demo. It was very encouraging to try. also what dimension is your press ?

[@bdelpesco]

Thanks for the feedback, Monica. My Takach press is 24x48, and I love it! 😃 Happy printing to you!

[@alexsilva28]

Thanks for the video. Very helpful. I just have a couple of questions: Is it necessary to use a lime to make a bisel to the plate? Is it necessary to make very deep lines and apply to much pressure? Thanks

[@bdelpesco]

+Alejandro “Alex” Silva Thank you for the compliments. I don't understand your first question - lime & bisel? Tell me the words in your native language. If you are asking if the plate has to be beveled - if the edges have to be shaved down with a rasp, the answer is only yes if you print on an etching press. Your lines can be deep and shallow: both, as you will get different mark-making results in the print. And yes, you need a lot of pressure to print. :) I hope that helps.

[@alexsilva28]

+Belinda Del Pesco Yes, that's what I meant in the first question. And thank you for answering :)

[@shubhrasing4456]

i am student of finearts and i hve also started work in printmaking

[@torbreww]

If you add water colour on your print it won't make the printing ink run?

[@bdelpesco]

Hi Paul, That depends on the ink you use. Be sure to print with inks that dry without re-wetting, like Akua (water clean up - this is what I use) Caligo (also water based) and most oil-based printmaking inks. Happy printmaking!

[@torbreww]

Great! Thanks for your help!

[@josiahjots1376]

Wow great video, thank you so much.

[@bdelpesco]

Thanks for the feedback, Josiah. :) Happy printing.

[@Kelter82]

Do you have any suggestions or ideas on how to make a print for someone who doesn't own a press?

[@bdelpesco]

Kelter82 - yes, you can make one using traditional hand-rubbing methods. See a demo of that here: kzbin.info/www/bejne/al7cm6VnZ7GEn5I

[@RowKSky]

thanks Belinda :)

[@siamaklighvani3951]

I have a small toy wheel and would like to make the tire marks in yellow color on the piece of wood , which paint do you recommed for this art work and how I do it cleanly

[@bdelpesco]

Hello Siamak - if you are printing on untreated wood, you might test the yellow tire track on a scrap piece of wood with yellow relief printmaking ink first. Try it on paper, and then on your test wood, before laying the tire track on your final wood. To get a clean print, roll the ink out on a sheet of glass or acrylic with a brayer till you have nice, even, thin coverage. Roll your toy tire across the in until you have good coverage, and then make your test prints on paper. Good luck!

[@siamaklighvani3951]

Thank you Miss Belinda. I will do the same.

[@oliviatredre]

Really helpful, thank you

[@bdelpesco]

Thanks for the feedback, Olivia - happy printmaking to you! 🔁

[@marshallforces1052]

May I link to this from our foundations website?

[@bdelpesco]

Sure thing. Go ahead.

[@marshallforces1052]

@@bdelpesco Thanks

[@nachtschimmen]

*yesterday I absolutely ruined one of the collagraphs I made 'cos applied water to the paper before pressing. For some reason I thought the collagraph would be waterproof. The moist paper, however, stuck really hard to the tiny bits of paper that were not covered with gel medium. When I tried to pull the paper off, it most of stuck to the paper and the rest of the image got ripped right off the board. Oh well live and learn I say. Luckily I'd already taken a few prints of it first.

[@bdelpesco]

Hi Zachar, that’s a sad story. I’ve had this happen too. Now I add one more layer if gloss acrylic sealer to *every* collagraph plate when it’s finished and I let it cure overnight, just to avoid that whole paper-bonding ordeal. I’m glad you got a few prints before the plate failed. 👍🏽

[@nachtschimmen]

@@bdelpesco Great idea! I was partially copying your method of scratching away at a layer of gel medium I'd painted on to a paper image (which I had previously attached to a board by soaking the paper in gel mecium). The scratched away medium revealed, of course, the paper. Not very much paper, but enough. I had actually thought of varnishing it but I was too scared of filling up the intricate lines with varnish. Next time I'll try this anyway because before it finally stuck permanently, the plate had started giving way in tiny patches. No fear: I'm using stenciles I designed on the before hand, so I can use the same stencil again.

[@RowKSky]

do you have any tips for applying the ink on the plate? This is the toughest part for me and it get very messy.

[@bdelpesco]

Hi +Row Gebre - messy is sort of expected with printmaking. :) Try covering your work area with newsprint or butcher paper, wear rubber gloves, and if it helps, map where your ink & tools will be laid out the same way each time you print so you'll develop muscle memory when picking them up and putting them down in the same place each time. Use less ink than you think you'll need, as it's neater/simpler to dip and spread on the plate, to add more, and messier/harder to scrape & remove and then put back in the ink pile, etc. I hope that helps! Happy printing, mess and all!

[@wilburton1936]

Very clever.

[@bdelpesco]

Joseph Stebila Thanks for stopping by! :)

[@legendrebernard2549]

great !! Thanks a lot

[@bdelpesco]

You're welcome, Bernard! Happy printing to you!

[@legendrebernard2549]

@@bdelpesco thanks a lot Belinda i'll do it

[@legendrebernard2549]

[@bdelpesco]

Merci pour vos commentaires!!!

[@albertinonunez5141]

Genial!

[@bdelpesco]

Albertino Nuñez - Gracias!

[@kwader_1404]

what happens happenes if u use the print more than 10 times ?

[@bdelpesco]

Easy Aces - you can make more prints, as long as your details don’t get worn down by repeated wiping and the pressure on each pass through the press.

[@PoisonBleed]

@@bdelpesco hi and thanks for the video, I would like to ask you, how many copies is the most you have done with one plate before it fades out?

[@bdelpesco]

@@PoisonBleed Hi Laura, I've never printed an edition large enough to affect the plate. The most I print is between 3-15 in an edition. Are you planning to print a huge edition - over 100?

[@PoisonBleed]

@@bdelpesco thank you so much for responding, maybe 30-50

[@bdelpesco]

@@PoisonBleed I wish I could advise you, but I think you're better off just going for it and making as many prints as you can, till the plate starts to show signs of wear. There are so many variables; the depth of your incised linework, the type of plexi you use, your wiping habits, the type of ink you use, the choice of paper and the pressure on your press, etc. To know your answer, I suggest diving in, and printing your art. :)

[@marissacarating4745]

What kind of ink you used?

[@bdelpesco]

Hi Marissa Carating - all the supplies are always listed under every video in the Show More section. For this drypoint, I used Akua ink (bit.ly/PpofXO) modified with their "MagMix". Good luck with your printing!

[@horanhomework]

Belinda- you really don't need that music. Your voice is interesting enough but the mind tries to make out any spoken/sung words and this detracts from your message. Good wishes

[@bdelpesco]

Noted! I'm sorry it can't be removed since it's already published, but I promise I haven't added music to any recent videos on my channel, so the coast is clear. :)