![]() ![]() A light spray of water is enough, you will find this is all that is needed to keep the plate in place. The dark outline of the print box can be seen through the paper.įor our Fome press, to prevent any potential slip of the plate, we have found the simplest solution to be lightly dampening the paper slider. The inked plate can be placed carefully down and then slid into position. This is a really simple idea for positioning the plate over your registration template and is commonly used on all sizes of presses. The next step is to prepare a number of small sheets of newsprint, you can use tissue also, enough for each print to be pulled. MYLAR2/2 cut to size and taped to the press bed with masking tape. ![]() The film is a 125 micron Mylar Stencil Sheet 30圆0cm. This is a very simple form of registration and works well for single colour prints by locating the plate to the right position on the paper. We can mark the back of each piece of printing paper to line up with the cross when laying it over the inked plate. The registration template shows a box, drawn in a strong marker pen, which will be the assigned position for the plate, and a cross of central lines both vertical and horizontal. For the purposes of registration, we have drawn a simple template on a piece of paper and placed this underneath a sheet of Mylar film. The registration template underneath a sheet of transparent Mylar filmįirst up we will print a hard ground etching made on 1mm zinc plate. Available in three sizes, 25cm and 18cm, plus the soon-to-come 30cm, the dimensions refer to the width of the bed meaning you can print up to A3 on the 30cm press, A4 on the 25cm press and A5 on the 18cm press. Manufactured by Fome, just north of Venice, the presses will print many types of intaglio plate including etchings, drypoints, engravings and collagraphs. Well-engineered and highly portable, the presses punch well above their weight when it comes to print quality. Intaglio Printing With the Fome Etching Pressįome’s fantastic small scale etching press remains very popular with customers across the world. The first article in the series covered setting up the press and the third and final article will cover adapting the press for relief printing. She covers setting up for printing, intaglio plates, basic registration, and inks. In this second article in our series about the Fome Etching Press, our printmaking expert Jill Watton shows us how to use this popular intaglio printing press for intaglio printing and how to get the most from this great little printing press. ![]()
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