printmaking part 2
I am still trying to figure out how to make the perfect liner card. At the university, they use very, very organic cutting tools. I just noticed it again with the lino printing; the cutter tools are how. Different is from. The university. And from. Schools and college. It was much more different and much more higher professional. The professional line of cotton tools came from Japan because Japan was much more famous. They became famous for the cutter tools when people wanted to do printmaking and graphic design well. We are using the Japanese liner cocktails in universities, secondary schools, and colleges using like type of. Plastic and less. Shop blades. It says a shop, but it depends on again how people are holding it or how they're using it. The strength of the shortness was not so high that people could see the deep cuts, but there was still much more. Great if you people were a beginner like me with liner cutting to get this liner cut tool and use it for sure and using it for liner cutting trying out playing with it. Pot is with printmaking is needed like a studio spaces the one I'm printing, and the liner cutting is to cut out the liner blocks is not necessarily required spaces which has to be careful whereabout people was cutting because if holding it wrongly the blade it could be easily get injured.
For drive, when printing, it is also just the same. Liner printing is. Like tools like metal pen tools they are using to make. The printing and scraping theory. Are the plastic tools also like using plastic, but the quality of what we're using again could head like a higher quality of metals, or we could have an electric one as well. This is again questionable because I have never done this before and never used this one of the electric tools. The thing with this is the schools and secondary schools give fewer introductions of how to use the tools and were about to use these toes. The university doesn't teach us how to use the toes, so it was hard to know if I should go with the dry-point print. However, I still prefer mono printing because it is similar to Zen styles and loads of media I could try. Hence, I have started my strength in printmaking, and I only use the dry point print and liner cutting. I still cannot get along with the quality. The screen print when I tried it out, I found it like, Oh my God, that seems easy, but the machines we have to use when we have to put our print blocks and print stuff, it seems. It was hard to understand at the beginning and to know we were about to. I have to go with you, so I decided to. I had loads of questions from the teacher, taking loads of nodes and taking photographs of the so I was she doing when we putting on the machine to copy the plates so the plates could copy the images I've been using and as I said, I needed three layers and the screen it was like size like more than like one size. It's all about fitting in, and I must be careful where the inks go. We're using the same acrylic paint that we are using for painting. We are using acrylic medium sodium paint so that it won't be easy. The paint would be more fluent; it's better to use a bit darker, medium, dark, or not too dark, but not lighter, because otherwise, nobody else could see in it. So if. I used the first layer a bit darker, the 2nd layer a bit lighter, and the 3rd layer lying between the medium. So not that, um. Dark and not that light. So it has to be controlled also the colours. So that's why we got a colour wheel in the printing studio. We could match the colours up. The printmaking studio also put out some papers needed to free paper. So what I was done was I grabbed some papers, and I used the pellet friendly, and I decided to mix and test out the colours and how I wanted to get this fitted together, and it seems like there goes. Pretty well. We stopped using a sample little dummy graphic design. We have to use a. Initially, it's a total epic fail and messy, and it's impossible to publish this. At my first bookmaking, I wouldn't keep all of them because we have 12 or more than 12 printing. Every single one unfortunate I could hold, but so many of them I could, but all of them I could copy. They, and I could keep them. I could look back anytime and keep one of them as well.
It would be so difficult if I had today's scrim printing at home. I permanently. Recommending to has some unique studio spaces and special tools, just like dry point printing and printmaking, because it was complicated to do, but liner printing and. and minor printing. It was simple because of the materials and tools. So, as I mentioned in my last blog, it has to be so it could be using beginner tools. It can be something other than the special Japanese tolls and the regular ink; I just mentioned that there is no need to be in Teglob ink. And baby oil because it was difficult to remove the brit making uh ink because that's not the same like acrylic paint you could remove like, um, the stains and the dryness is, so it has to be like a bit like hard to delete it's like much more like hardly to remove every single stain and also. Baby oil is less smellier-like than a white spirit because it's the white spirit is the primary key to pulling everything, but it has to be like special tools like goggles and gloves, just like baby oil has to wear gloves and goggles.