Vampire Art Gallery

The art of the woodcut has a long tradition especially in Chinese and Japanese cultures. Woodcut printing is capable of a wide range effects of subtle, poetic, colorful, detailed impressions of artists Oriental displays in bold, expressive, graphic black and white of the German expressionist artist in the early twentieth century.

Making a woodcut is simple, requires no expensive equipment and can even be done without a printing press.

Materials required to create a woodcut are the following:

 • Block Printing Inks - Either water based or oil based

 • A block of wood - soft wood like pine or linoleum

 • Roll Ink - Rubber

 • Woodcutting tools - V-shaped, U-shaped and slightly right

 • Paper Printmaking - etching acid-free paper - is the standard white papers or handmade all types

 • Wooden spoon or printing - wooden spoon with large surface wide and flat back or an etching press

 • white pencil - Conti pencil or pastel

STEP 1. Preparation of the building

Once you have your block of wood and your cutting tools, you're ready to begin the creative process. An important factor to bear in mind when you start is that the impression will be a mirror image of the image you cave in your block. You should sketch your idea on paper first, then coat your block with a thin layer of black ink using your ink roller and the ink black. Let the ink dry, then draw your image on the plate with a white pencil or pen with white ink. The coating of black ink on the block will make your image more visible when you burn the image into the block.

STEP 2. Carving Image

Use your carving tools, carving the image into the wood. If you want an expressive image, then cut and carve wood using dynamically extensive cutting tool and do not worry about details and, conversely, if you want a more realistic picture detail using a small V-shaped tool, slowly and carefully cut out your image in the block.

STEP 3. Image Proofing

At any point during the process of carving you can do a proof of your image so you can evaluate how pr8int your look and so you can adjust your process if necessary. You should be aware that seal to make the lightest cut in the areas of your block darker when you clean your block after proofing. This may be something you do not want because Will it change how you view your image on the block.

STEP 4. The building of the inking

Ok, you burned your image and it looks awesome! You are now ready to print your masterpiece. Squeeze the ink on a flat, smooth surface nonabsorbent like glass, and using your roll, roll a very thin layer of ink. Do not use a back and forth with the roller, roll-on that ink lift the roller and roll the same way until you have a thin layer of ink on your roller. Several layers of ink Thin is what you fight for your block. Too much ink will spill on the block in the trenched areas and your image does not print correctly, and conversely, of too little ink on your block will print an impasto and the edges of your image will not be neat and legible. You will have to experiment through trial and error to find the inking technique right.

STEP 5. Printing Block

If you have access to a printing press, this is the best and easiest way to print your block. Ink on your plate, place it on the press coverage of your paper with block printing cover the paper with the press coverage, to adjust the pressure roller and slowly roll the block by the press. Gently lift the paper off the block and there you, your masterpiece print on wood. Set it aside in a safe place to dry. Limit edition about 50 liters for the image quality to deteriorate after the subject of many prints. If you do not have access to a printing press, you can use a wooden spoon or similar tool to make your impression. Ink on your block, place your paper on top of your block and using a flat wood surface, rub the paper against the block in a uniform circular motion until you feel the ink has been transferred to the paper. In case of doubt, remove the paper on a corner and judging your technique and make adjustments to the pressure if necessary. Clearly, the effectiveness of this technique is more suited to smaller woodcuts.

The author, George McKim, is an award winning artist who has exhibited his artwork in museums and galleries. George has created a new and rapidly growing Artist Social Network and Online Gallery at http://www.myartfriends.com

Digital Paintings Volume 2 (Relax Enya Watermark)

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