Printmaking Techniques - The way of the master by Wai Yee

PRINTMAKING TECHNIQUES

The way of the master

By: Wai Yee

Seasoned printmakers are able to articulate fluently their art through the many established forms of printmaking: relief, intaglio, lithography, screen-printing; but it is the master printmakers who take their work to a whole new level.

With more than 50 years of active involvement in making beautiful art, one would be forgiven for thinking that the artist is ready to proverbially hang up the paintbrushes. But as it goes Loo Foh Sang continues to elevate his work beyond his recognised vocabulary.

 

For many years, he has dedicated himself to developing the language of his art and to addressing certain limitations of traditional print methods. His passion for innovation has led to exciting new monoprinting techniques that are able to convey arresting images in multiple colours. And because they are monoprints, no multiple plates are needed and he is free to create large, multicoloured artworks.

Silkscreen monoprinting

This is Loo's preferred style in creating silkscreen monoprints and one which he dubbed 'drawing on the screen'. It is a very fast method which completes an artwork in a single attempt, and he asserted that this is his most satisfying research yield in all his years of printmaking.

The whole printing process is done within 30 minutes so printmakers need to think on their feet. First, the main subject of the piece is decided, followed then by the selection and sequence of colours to be placed on the silkscreen. The colour of the main subject is added on first as it takes up most of the space on the design, whereas background colours are done last. The background colours are chosen to effectively enhance the main subject.

What is also unique about this method is that colours are applied using objects like spoons and dining knives instead of paintbrushes. Viscous pigments are used and sometimes a transparent adhesive mixture is added in the mixing and modulation. All these create a very special effect on the artwork, and different choices of papers too will give the end result a distinctive feel.

"Summer light 2012" Silkscreen Monoprinting

In Loo's own words: "With the composition and colour application already in mind, my finished artworks are always clear in their expression of ideas, and they are completed in one go."

Intaglio-relief monoprinting

This is a straightforward technique which requires the printmaker to place select materials which will create the desired effects together with an engraved paper board on a single plate. This way, both intaglio and relief effects are evident in the final artwork.

Materials used are diverse and limited only by the printmaker's own creativity. On his personal preference of materials used, the master himself explained, "For me, I usually use natural materials such as feathers, leaves and petals. I also use nets and aluminium foil to enhance the visual effects."

 

GLOSSARY OF PRINTMAKING

Relief / Wood Cut printing  

A technique in which the printmaker cuts away parts of the printing surface not meant to carry ink and leaves the image to be printed "in relief" at the level of the original surface. In short, the surface holds the ink. This includes woodcuts, wood engravings and linoleum cuts.

Intaglio printing

A technique in which the printmaker cuts the image into a metal surface using steel or diamond-tipped tool, or etches the image into the plate's surface with acid. The area below the surface holds the ink.

As a damp paper is placed on the inked plate, the print is produced when the paper picks up the ink in the grooves as a press roller passes on top of it. This is the opposite of the relief technique and comes from the Italian word intagliare - "to cut into".

Screen-printing / Stencil 

A technique where the printmaker creates prints through stencil printing. An image on a stencil is adhered to a screen made of silk which is stretched across a frame. Inking is done using a squeegee where ink is pushed on to the fabric in the open areas of the stencil.

Unlike the three techniques already mentioned, there is no reversal of image in screen-printing. Screen-printing is also known as silkscreen or serigraphy, and it is a method which allows for mass production of an image without a loss in quality.

Engraving

Part of the intaglio printing process. Lines are cut into the polished surface of the plate with a burin.

Etching

Part of the intaglio printing process and the most popular method for this technique. A metal plate is covered with a waxy or acrylic ground and the printmaker then draws through the ground with an etching needle. The exposed lines of the design are etched on to the plate by dipping the plate in an acid bath. The thickness and depth of the lines are determined by the acid concentration and the length of time the plate is soaked in the bath.

Aquatint

Part of the intaglio printing process. This is method linked to the etching process to obtain shaded areas in monochrome or coloured prints.

Acid-resistant spray paints are used on plates in lieu of waxy or acrylic ground. The plate is placed in acid and the exposed lines of the design are eaten away to produce a rough surface capable of holding ink. This allows for the production of prints with light to dark variation.

Drypoint

Part of the intaglio printing process. The printmaker creates designs on a soft copper or zinc plate using a thin pencil-like tool with a steel or diamond tip. The displaced metal leaves rough edges called 'burr' which catches ink. When printed, these burrs will leave slightly blurred lines.

Burrs are fragile and they deteriorate from the pressure of the press rollers when prints are made.

Viscosity printing

Part of the intaglio printing process. A process that exploits varying viscosity of oil-based inks in laying three or more colours on a single intaglio plate. Also known as simultaneous printing.

Monoprint

Unlike regular prints which are produced in limited numbers, monoprints come in only a single copy for each design.