Making a Relief Print - continued 5

The easiest way to do a quick draft print is to remove the cover from a rubber stamp, inked pad, turn it upside down, and thoroughly cover the raised places on the block....these places should be where the original soft graphite lines began.   Once the first print is pulled, use this "proof" to make any additions or revisions to your block.  Of course you can continue to make changes and revisions to your original block until it is no longer printable.  It can "morph" many times. 

 Because this is a one-color print, any additional colors will need to be added by hand.  The artist always has the option of printing on a paper other than white and not adding any addition color.

For those who want to use a relief ink, there are several on the market.  Daniel Smith used to make a lovely, water-soluble ink that, when dry, could not be reactivated with water - ideal.  Unfortunately Daniel Smith has decided to focus only on paints, and has discontinued their ink lines.  Many people look to Speedball inks because they come in a wide range of colors and can be found several places.  I have not found these inks to dry and and stay insoluble, however.

I have recently experimented with a soy-based ink made by Akua.  After printing two weeks ago, the ink-on-paper is still somewhat activated by water, however.  I am very hopeful that it just takes a longer amount of time to dry.

For any of the tube inks, the key is to working the ink to a point where it has the appropriate tackiness prior to inking your block.

Daniel Smith black waterbased relief ink and Speedball 2 inch brayer with handle.

I begin by placing a quarter sized dollup of tube ink on my inking surface.  In this case, it is a new, flat cookie sheet (one that has never been exposed to oils, grease, or shortening, etc.)  Brayers also come in many sizes.  Many people prefer the width of the roller to be slightly wider than the widest part of the block.  Start with one, and experiment as your patience and budget allow.

It is important to roll the ink 15 to 30 times, lifting the brayer at the start of each roll.  A good indicator of readiness is actually the sound of the ink - it's begins to sound sticky.

Once an even layer of ink is on the brayer, begin inking the block.  I re-ink my brayer several times prior to printing, and try to go several directions for maximum and even coverage.   The goal when inking the block is to evenly coat all of the once-graphite-lines; too much pressure and ink will sink below the surface, not enough and all surfaces will not be coated.

Once you have made contact between the inked surface and your paper, there is no going back and inking again.  For each new print, you will need to thoroughly roll your ink prior to re-inking the block; as needed, add more ink and roll, roll, roll.  With a little practice, you will learn the needed consistency and coverage by sight and sound.

Five pulled prints using two different ink colors.  Left, top is Akua plum, right top is Daniel Smith black.  Paper for all prints is Strathmore 400 series printing paper.  Click on the image to enlarge.