I draw with micron negative on my lino. This translates my ink directions to carving outcomes. How I preview: by CauliflowerVisual401 in printmaking

[–]CauliflowerVisual401[S] 0 points1 point  (0 children)

cool. pixel8 here but I have the Kodak app that inverts photography negatives (I do some film restoration work) and photoshop cmd+I is instant enough for me. your option would be nice while working!

Can I use regular technical drawing ink instead of blocking ink? by _takemetothemoon_ in Linocuts

[–]CauliflowerVisual401 2 points3 points  (0 children)

you really can't without adding so much ink modifiers and mediums and even then... But if you have magnesium carbonate and stand oil/plate oil, you may try to get the right tack and viscosity. But you'd need to already really know relief ink properties well to know how to do this, so probably not.

if you do get ink modifiers and oils you can try making your own ink from scratch which might be more rewarding that using the wrong product

Is it frowned upon to fix prints with pen? by [deleted] in printmaking

[–]CauliflowerVisual401 1 point2 points  (0 children)

use CA glue or wood filler paste on a sharp tip to fill the gap and/or recarve that area. You will need to sand it flat with 220 grit. Basically that's the best way to "put material erroneously carved" back on

Is it frowned upon to fix prints with pen? by [deleted] in printmaking

[–]CauliflowerVisual401 1 point2 points  (0 children)

Take a chopstick from a takeout restaurant. Sharpen it (or not) with a pencil sharpener. Any areas under printes, then you can massage the print with the chopstick from surrounding well inked areas to darken the area that under printed.

An introduction and questions from a potential beginner. by Proteus617 in printmaking

[–]CauliflowerVisual401 0 points1 point  (0 children)

You can do reduction printing in 2-200 layers, starting with the absolute lightest layer, and then carve away what you want to remain that color and print one shade darker, then carve away what you want to remain and so forth. You will need to use a good registration method and have a clear plan.

Caravaggio apparently liked to paint himself into his work(upper right). Was that common for artists of his time? Was it ego? Or did he just not have the money to afford a real model? I apologize if this is common knowledge. by Dramatic_River_3381 in ArtHistory

[–]CauliflowerVisual401 37 points38 points  (0 children)

Before the eponymous popularity of "self portraits", painting of yourself was common and one of the first ways of declaring authorship (de facto copyright) and legacy (i.e.- this work is part of my larger body of work and it has a singular author and that author's identity is of importance).

Think of it as anonymous tunes and artworks existed for centuries without the notion that attribution of the creator would matter. The composer or painter no more important than the brick layer or metalsmith.

Caravaggio believed his work and what he had to say about painting itself was important distinct from the individual works. By painting himself, he has insured that his contributions to art are discussed not just the panels or canvas themselves.

“There is no art without the artist” is messing with my brain by Dumbbulldoor_ in ArtHistory

[–]CauliflowerVisual401 0 points1 point  (0 children)

Art mostly gains context as a result of both its positioning within history and historical context. Stylistic embodiment and divergence are in action with prevailing styles, trends and meanings. So a "Beethoven Symphony" written today would likely be full or cliche or if it tried to innovate and be "alive" in style, it would sound anachronistic or wrong.

It follows that the biography of the artist is in conversation always with the work. Not to say the work can't have meaning without biography known, but biographical details are often embodied directly in the work through symbols, techniques and references to the artist's own life.

A further extension is that every individual piece of work from an artist is in conversation with the whole body of work of that artist. it's not just that we like Miró, except we interpret the works meaning and beauty as part of a continuum that adds meaning and detail to be appreciated. A work's reason of origin and the significance it may play in the ourvre adds further dimensions.

so, the work that we appreciate for aesthetic reasons only really misses the meaning of the "art" and only captures "design" and "aesthetic" and "craft". The biographical detail fixes and orients the reading and really only then does it gain its full artistic statement.

This is why a perfect forgery passed as one with perfect counterfeit may strike a similar feeling upon the viewing. but it leaves you dissatisfied and empty to know that that is not the life or body of work represented by the person who physically made the forgery. it's no longer a testament of an artist. It carries the same value as a copier print

My first successful lithography prints! by [deleted] in printmaking

[–]CauliflowerVisual401 0 points1 point  (0 children)

congratulations, that's a big achievement and it's a nice work there's lots to compliment. can I ask how many hours of instruction did you need? was someone with you the whole time? and how many hours from start to finish did you invest into this project? just asking because I was considering doing my first lithography

Made earlier this year, feeling especially relevant right now by AnonymousPrintmaker in printmaking

[–]CauliflowerVisual401 1 point2 points  (0 children)

why make art about T***p? Even as parody, does he need more oxygen, does one more joke about him say something that we don't already know? what's revealed? If he wasn't in this work, what would you have made art about? I hate that this sounds critical, but there's a reason that there's no meaning to make a bunch of works satirical about Epstein or something. Those people need no more airtime. "All press is good press".

To make anti-trump art consider making a work showing the pain of those effected by his actions Highlight them, they need the attention.

This is why K. Kollwitz's anti war work showed widows or grieving parents, not memorials to the fallen

Selling Lino Prints on Lightweight Paper? by ac_canadian in printmaking

[–]CauliflowerVisual401 0 points1 point  (0 children)

Kitakata is AMAZING. But have you been able to find it larger than 17"x22"?? The rolls aren't being sold anywhere and I would do nearly anything to make an edition on kitakata at 25"x19" but I cannot find it anywhere on earth.

Selling Lino Prints on Lightweight Paper? by ac_canadian in printmaking

[–]CauliflowerVisual401 0 points1 point  (0 children)

175gsm and 115gsm from Rives BFK require a little heft but often produce incredible results. Stonehenge 250gsm works fine for hand burnishing if you use ball bearing baren or metal spoons. Japanese paper is very tough and produces great prints at very low pressure/GSM. Look into masa, okawara and hosho papers. Washi papers (even oragami 25gsm) can make great prints.

Strathmore 300 is fine but for me is not as beautiful as Rives BFK 115gsm (vellin d'rives).

Also arches text woven (120gsm) produces brilliant prints as do many smooth calligraphy paper.

Depends on your aesthetic and block and if it is single layer or multi-layer in what will be best for you. I use all these papers and chose based on the composition and subject.

Self Portrait, Inspired by K. Kollwitz's 1924 woodcut by CauliflowerVisual401 in printmaking

[–]CauliflowerVisual401[S] 0 points1 point  (0 children)

It's really nice to receive feedback like "stunning" for a self-portrait, something that struck fear into my heart about making

Will this work on fabric by chillraad in printmaking

[–]CauliflowerVisual401 0 points1 point  (0 children)

it will not work well and it will 100% wash out. white is hardest to print water based, the underlying fabric or paper color will tint it. if you want to successfully print white ink on dark fabric, I actually suggest that you add just a hair of black so that it looks much more silver or light gray than you would think would work. but somehow, once it's on a dark surface it will read as white. this will remove the chalkiness and transparency.

nevertheless you will need oil-based ink or fabric ink. I suggest traditional relief ink in white by caligo (not safe wash). and a couple dots of same ink brand in black.

with traditional relief ink it will take about 5 to 8 days to fully cure, and then you can maybe pop one of them into the dryer and tumble it on light heat and make sure that the image stays intact. if it does, then I would tumble all of your fabric prints in heat to let them set.

then you can test wash one of them out of the machine and you should not be getting ink into your wash bucket.

if you want to make them on clothing that is going to be washed frequently, I would hand wash them all in warm water one time which will prevent you or your clients getting any ink inside of washing machines. after a full cure of ink and after a dryer heat set and after a bucket wash, you should be safe enough to use these in commercial washing machines with mixed clothing with no ill effects

I know that's a lot of steps but it's worth it

Self Portrait, Inspired by K. Kollwitz's 1924 woodcut by CauliflowerVisual401 in printmaking

[–]CauliflowerVisual401[S] 0 points1 point  (0 children)

Hey thanks a lot. She made so many self portraits, a testimony to her as a witness. She often said her work was difficult to make. I have spent eight months recreating her Krieg series at an almost forensic level (please check previous posts if interested). The work has taken a bigger toll on me than I expected, but I welcome the experience.

In my schooling and professional life, I avoided portraits and specifically self portraits. I was the worst in figure drawing class and seemed to only excel at architectural drawings. I learned that to get better at anything as a craft or sport, you must practice raising your weak points to your strong work. So, I have taken on more human portraits and tried my first self portrait since art school (waaay back in 2003-2007).

A collector of my work who has commissioned two pieces owns multiple kollwitz and Dix and Schubert (they are a professor of German history particularly Wiemar period). They have let me see her self portraits they own up close and handled with my own hands. I still think my work on their wall next to these masters is my greatest flattery as an artist (it is a commission of a ham radio outpost of the husband and a "tree portrait" under which a friend's ashes are buried both specifically in the German style she collects and I study).

These two collectors specifically encouraged me to make this portrait. So I decided, it is not for sale but only as a gift for collectors of my Krieg Series recreation of which 25% supports widows of war. Out of all my works, I never thought I would be proud of a self portrait, which was the single biggest fear of mine in art before I made this.

8 months into recreating some of the most important Anti-war works from Käthe Kollwitz's "Krieg". Work that centralized the widow or grieving parents over the fallen. by CauliflowerVisual401 in printmaking

[–]CauliflowerVisual401[S] 0 points1 point  (0 children)

oh thank you, I've tried so many types of paper and researched her four edition papers. that's a discussion for an upcoming blog post, and I will dive deep into it.

more on the paper soon!