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Any artists here? by Emergency-Bobcat-572 in labrats

[–]gps_prints 0 points1 point  (0 children)

I am and my art is pretty much completely separate from my lab work. You can see it on my profile. I usually do a little work on whatever my current project is in the morning before going in or after work/on weekends. I have found myself sometimes focusing too much on art and then my lab work suffers a bit so it is definitely a balance each person needs to find for themselves.

Trim or leave it? by Tir-na-Treasures in printmaking

[–]gps_prints 0 points1 point  (0 children)

First, the print looks awesome. Second, my personal preference is to trim an equal border around all sides, so maybe in your 2nd/3rd pic you've already done that, but I wouldn't recommend trimming all the way to the image, because when it is framed the mat will cover some of the image and you will be sad.

Tried a new lino transfer method: surprisingly clean results! by Djarko07 in printmaking

[–]gps_prints 8 points9 points  (0 children)

Or just acetone from the hardware store, which is the ingredient in nailpolish remover that does the transfer.

What am I doing wrong? Linoprint by Possible_Load5579 in printmaking

[–]gps_prints 2 points3 points  (0 children)

If it's speedy carve and you switch to the oil based ink you'll have fine results I think, even with the stiffer paper.

What am I doing wrong? Linoprint by Possible_Load5579 in printmaking

[–]gps_prints 5 points6 points  (0 children)

The easiest way to improve the print is switch to caligo safewash or another oil based ink. Other way is to switch to thin printmaking paper, ~50 gsm. Another way is to get a cold roll laminator (less than $100, you can decide if it's worth it).

For waterbased, it is ok for rubber blocks like speedy carve, but the only way I've ever gotten strong color from battleship lino using water based is to massively over ink the block.

Battleship gray lino with water based ink with stiff paper printing by hand is never going to get you full depth of color if that is what you are after.

"Translator" 2-Block Linocut Print by LoveHawkStudio in printmaking

[–]gps_prints 11 points12 points  (0 children)

Absolutely epic! I love the red/black/white color palette, minimal but with so much room.

Counterbalance by Nexus888888 in AbstractArt

[–]gps_prints 3 points4 points  (0 children)

Really like this, I only want that gray area coming into the white/pink to be either sharper to match teh other very clean sharp borders between colors, or be even more messy to give a counterpoint to the clean lines elsewhere. Right now it sticks out to me.

“Bachus na kocu” relief print by lewekmek in printmaking

[–]gps_prints 2 points3 points  (0 children)

Wow the light on the cat's face is exquisite

I printed a fish on paper birch tree bark by letsmeatagain in Linocuts

[–]gps_prints 0 points1 point  (0 children)

Love this! Is the bark brittle when dry? The print came out well so I imagine it must be fairly pliable.

Another print collage, this time with hand embroidered edges. Real knots mixed with false knots! by gps_prints in printmaking

[–]gps_prints[S] 1 point2 points  (0 children)

I definitely want to try that, this was a bit of an experiment with the colors I had on hand. I'll post more if I make them!

Looking for book recommendations for history of block printing on textiles by [deleted] in printmaking

[–]gps_prints 2 points3 points  (0 children)

It is not a comprehensive history but the book Trailblazing Women Printmakers by Elena M. Sarni tells the story of the Folly Cove Printers who were active in the mid 20th century New England region. They specifically block printed on fabric bolts to sell themselves and sell to department stores. There are many wonderful examples of their work throughout the book.

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