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    • CommentTimeJul 4th 2012
    Re: Printmaking.

    Linocuts, woodcuts, and other relief prints are easy and not to expensive, and possible to do at home without a printing press.

    Things you need:
    1. The linoleum/wood/sintra Whatever you want to carve into. For your first print, I'd recommend a soft wood or a small piece of linoleum attached to a block of wood for stability.

    2. Tools to carve with. My first tools were something like this. There are fancier tools out there that last longer, but you could probably get something like those for even cheaper than what it's listed for there. I've also seen work done with just scraping with needles, or exacto-knives, or other tools. Just keep in mind, the deeper and thinker your cuts, the easier it will be to ink up and print when you get to that point.

    3. Ink. You'll have to decide if you want water or oil or rubber based ink. Water based ink dries really quickly, and that makes it really difficult to work with when you're printing by hand. But with oil or rubber based ink, you need some mineral spirits for cleaning up. If you go that route, be sure you've got plenty of ventilation in your work space.

    4. A Brayer. For inking up the carved form.

    5. A piece of glass for rolling out the ink onto. Nothing fancy.

    6. Paper.

    7. Something to rub against the back of the paper when it's on the inked form. Nice barrens are nice, but a wooden spoon will do just fine.

    Nice to have but not necessary is a palette knife for laying out the ink and helping clean up. It's also good to have a razor blade to scrape up the last bit of ink from your glass before wiping it down with mineral spirits or rinsing it with water.

    All in all, it should definitely not cost more than $40 to get what you need for making prints. And if you know any printmakers in your area, you could probably borrow a brayer and barren. And once you have carving tools and other stuff you need, you can keep using it, so future prints are just the cost of paper and ink.

    I'd give yourself a day or two to carve a small lino piece. Longer if it's wood and if it's bigger. Printing time depends on how many you want to make. Always give yourself a good few hours of printing time, as whatever can go wrong will go wrong.

    Printmaking's sorta my thing, so if you have any more questions, feel free to ask. Also, if you get into some specific stuff and you want some help, feel free to email me. I'm at trishelle_jeffery (at) yahoo (dot) com.
    • CommentAuthorinitiatezao
    • CommentTimeJul 4th 2012 edited
    Oh Trishelle you are amazing. Thanks for all this, I am going to try this over the weekend.

    Are you familiar with the techniques of Shin hanga Woodblock prints have always seemed so cool. The old Hokusai and Hiroshige prints too. For whatever reason I have never known anyone or seen any book on how to actually do that kind of work.

    In particular I have always been deeply fascinated by Kawase Hasui

    Any advice you have is appreciated.

    @Paul now I want to draw some dead hipsters wearing journey shirts. Is that image going to be a banner at cons?

    Chun li finishing some ramen 10 seconds before kicking your ass.
    chun li

    they call him bruce
    I was racist against Japanese people when I was a child because my only reference to them as a people was Chinese Connection with Bruce Lee. They were mean to Bruce and killed his master.

    Overworked in photoshop drawing from Enter the Dragon.

    Has there ever been a Bruce Lee cartoon? The street fighter dude seems closest Ihave seen.

    Thanks tomas
    • CommentTimeJul 4th 2012 edited
    Basically, the only thing I know about Japanese woodblock prints (other then the obvious fact that they are beautiful) is, as it says at the beginning of that first wiki article, they had one master for each part of the process. One who was really good at carving, another for inking up the form and printing it. And both of those were separate from the "artist" who was the one to make the original drawing. The ones you see are complex masterworks. The thin lines they have would be so hard to carve and print without breaking. And inking up those forms without getting ink in places it wasn't supposed to be would be really hard as well.
    I found it really helpful when I first started to look at German Expressionist woodcuts. They really emphasize the process used. I think generally, the first prints someone does are more likely to look like that than a Japanese print. Not quite as good, of course. But it's helpful to let it look like a print and not a drawing. Carving gives such a different mark.

    Also, off subject a bit, but your drawings are lovely.
    • CommentTimeJul 4th 2012
    @Zao, what she said :)

    I went to my local Blick and picked up some shit. I used a cheap, thin piece of plexi for rolling out the ink on, and all told, I did about 25 prints in an hour and a half. The key is not to stab yourself with the linoleum cutting tools, like I did, and to remember that linoleum is angry and can flake off if you don't cut it properly. I needed to have a little super glue on hand for that.
  1.  (10742.5)
    @dork Is the superglue for your hand or the lino?

    One of my favourite artists, Becca Thorne, still uses fairly basic kit to produce some pretty impressive linoprints
    • CommentTimeJul 4th 2012
    The super glue is for the lino. Don't worry though, I make sure to have plenty of gauze and booze on hand for when I inevitably stab my hand and have to stop for the night.
    • CommentAuthorkperkins
    • CommentTimeJul 4th 2012
    @dork: Super glue is great for stab wounds, too. Just stings like hell.
  2.  (10742.8)
    @LoneFoxandCub: That page is very beautifully done. The use of light and dark and negative shapes... just lovely.

    @Paul Sizer: Nice! I recognized quite a few of them. I know you did do an illustration of me as a mermaid a while back, but it was more mysterious and not fierce at all. If you ever do a similar collage(?) of the fellows, it would be quite fun to look through too.
  3.  (10742.9)

    Okay, I’ve become rather irked by how much the boobs-n-butt pose is so harped on, as if it’s some hilarious, impossible thing. These were done on a whim, so I apologize for the small/crappy photos and sketchy outlines. Once I find my camera again, I’d like to take some shots that show the whole body and how this pose actually works.

      CommentAuthorPaul Sizer
    • CommentTimeJul 5th 2012
    That's one of my faves, Trini. I may just do a "Draw Whitechapel" collage at some point.
  4.  (10742.11)
    Hey everyone, some lovely work going on in here! I haven't been back in a while, I've been lucky enough to be quite busy - also I'm holding out on reading Crossed as long as I can because I see the torture it puts some of my friends through waiting... that's getting harder everyday.

    @Paul Sizer - sweet work with the Promo image. It's sextacular.
    @Hey Apathy! - Your work is sick. You are sick. You sick sick man.
    @FredG - I think the camper works!
    @initiatezao - I like your work here, it's rich, loose and yummy.

    Hopefully I'll get to stick around here a bit more in coming months! I've a bit of art I might get up later this month too.
    • CommentTimeJul 5th 2012
    As I have warned you, your regular stream of outstanding displays of illustrative skills has been interrupted by yet another cry for help, or rather a cry for a motor home. This time a 1962 or 3 something Ford Condor.

    This will continue until some one comes up with a convincing argument for getting one that will work on my delicate flower of a wife.

    As you were.
      CommentAuthorPaul Sizer
    • CommentTimeJul 5th 2012
    I am very jealous of your clean camper rendering skills, Fred, so that's why I am childishly "SizerBombing" them...
  5.  (10742.14)
    @fred and sizer- you two totally need to do a breaking bad rv with walt and or jesse up front
    that would be awesome plus the last season is going to air soon
    • CommentTimeJul 5th 2012 edited
    Paul I get a big kick out of the "SizerBombs", we have some similarities between our styles like line weight choices, color pallets so the bombs don't look forced, which I love.

    I worked in editorial graphics during the twilight years of newspaper art departments, we had 12 artists on staff and some of the best work we did was on these "cram sheets" we passed around. Someone would start with a random character and we'd end up a week later with a full blown scene with every possible style and action going on. I've been working on my own for several years now and miss the immediate interaction with different artists. So anything I post is fair game for bombing.

    And I don't know why but your bat girl totally fits with the cherry blossom trees.
      CommentAuthorPaul Sizer
    • CommentTimeJul 5th 2012
    Fred, I agree; our two styles do work well together line and color-wise. And make no mistake; I am digging your vectoring; much respect.
    We used to do comic jams at restaurants after days at comic conventions, and some of the stuff that was produced there was amazing. I miss those as well.

    I re-found her and thought "OK, who would I think twice about setting up camp next to?" : )
  6.  (10742.17)
    @Sizer & FredG-- these drawings are amazing, I am in awe, such skill

    Here's a t-shirt design I just did for the heavy metal band "Between the Buried and Me"

    (they can be ordered here)

  7.  (10742.18)
    Did these two this week as character design sketches for a comic down the road:

      CommentAuthorPaul Sizer
    • CommentTimeJul 5th 2012
    I dig Hecuna's character design muchly.
  8.  (10742.20)
    Been too busy working on my first "real" comic to internet much lately so here's some stuff:

    Lab gorilla warm-up drawing
    Lab Gorilla

    Nic Cage Tourist warm-up drawing (too much hair)
    Nic Cage <3s NY

    The cover of my upcoming (first standard-sized) comic, Snake-Eye which is at the printer now.
    Snake-Eye 1
    Holy crap, I'm nervous!