Gum Arabic is water soluble but hardens when dry it is sticky, sticky stuff.
They would be good for prints with a painterly quality and I like how the example has texture from spattering the Tusche ink with a toothbrush. Tusche ink and lithographic crayon lend themselves to a hand-drawn quality it is very hard to get sharp edges with these. This works because Tusche ink is soluble in mineral spirits but the Gum Arabic is water soluble. Then you print with that screen film when it is dry.
Photo silkscreen free#
Basically, with this process you draw with the Tusche ink, coat the screen with the Gum Arabic, let the gum dry, then free your Tusche ink lines with a rag soaked in mineral spirits. I will say a few things based on my experience with the materials. TUSCHE AND GUM ARABIC – I did not have time to try this method, the pages below are from The Encyclopedia of Printmaking Techniques by Judy Martin and describe the whole process. Use mineral spirits to scrub the crayon, oil-stick or cray pas from the screen, a scrub brush with some scouring powder and dish liquid will help de-grease your screen, a strong blast from a pressure washer is a good finish.Ĥ. RESULTS – This is a fast and easy way to make a silkscreen image, but it is fragile so you will not get many prints from doing this method. Use a light touch with the squeegee so you do not rub out the material blocking the screen.Ĭrayon resist drawing of tobacco plants, 110 mesh silkscreenĪbstract crayon resist silkscreen, sheer gold metallic ink on green paper, 110 mesh silkscreen Press hard to use the crayon or oil-stick to clog the silkscreen, filling in the spaces you want blocked. The lines have a soft, loose quality ink can go through any grainy texture in the lines. CRAYONS / OIL-STICK / CRAY PAS – I find this method to easy to do and kind of fun. I have reclaimed screens by removing photo-emulsion and that is much more labor intensive.ģ. As soon as you pull off the stencil and the tape around its edges, wash the ink off and dry the screen, you are ready to place the next stencil on it and continue working. An advantage of shelf-liner stencils versus photo-emulsion is that you can use the same screen over and over again very quickly. It can be as intricate or as simple as you want. RESULTS – As long as you get the stencil stuck on the mesh smoothly and lined up how you want it, you can’t go wrong with this method. I draw on it with permanent markers, use prints taped to it or transfer drawings onto it with carbon paper. I like shelf liner because it is low-cost, plentiful, cuts well with a razor or X-Acto knife, holds well while printing and comes off of a silkscreen mesh very well. Art supply stores may also have a similar plastic film, sometimes clear, with an adhesive back. These are sold at hardware stores, big box stores and home centers. SHELF LINER STENCIL – For all the time and effort you will put into cutting a paper stencil, you are better off with a roll of self-adhesive plastic shelf liner. I can’t say I recommend paper stencils at all.Ģ. Thicker paper could be a problem as it could catch on the edge of the squeegee.
It may be worthwhile to experiment with glossy or coated papers. The paper stencil rapidly loses surface strength time is running out the moment you start to use it. A few prints in the middle of the run came out better, but the edges were still a problem. RESULTS – Early prints came out with a lot of bleed through and bleeding around the edges. (The book used newsprint.) The idea is that the wetness of the silkscreen ink holds the paper stencil in place with surface tension and that this is a very low cost method of printing. I just used average weight, duel use computer printer / photocopy paper. I decided to try this myself and made a paper stencil with a basic stencil font. PAPER STENCIL – This was recommended in The Encyclopedia of Printmaking Techniques by Judy Martin. Here are four alternative silkscreen techniques:ġ. This set me to racking my brain and going through my books on printmaking techniques. One concern was the health impact of and the strong smell of the light reactive photo-emulsion. A woman interested in natural, environmental and sustainable methods of making art asked me what alternatives there were to the typical liquid plastic and Diazo dye photo-emulsion coating used in making silkscreens.
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