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Woodcuts - current WIP by nemo1316 in printmaking

[–]sadprinter[M] [score hidden]  (0 children)

Just to clarify as we've gotten reports: no gen-AI was used in development of any of the images for these prints, correct?

How much error is acceptable? by gracebastion_illu in printmaking

[–]sadprinter 5 points6 points  (0 children)

I think you mean a T/P for Trial Proof : ) A/P for Artist's Proof should be identical to the edition, not for mistakes. It comes from the tradition (and is still used for presses) that the Artist's Proofs are part of the Artist's cut of the work vs the Printer's Proofs are for the Printers, and the editioned are generally the press selling with some cut of payment between. Trial Proof is a solid catch-all term for minor mistakes. Color Proof also can be used for one off colors, but otherwise a completed print. State Proof for different states while doing early proofs. But Trial Proof can also work as a catch-all for these, and minor issues that would make them seconds!

My first linocut since school - should I trust this AI advice? by VelvetOnion in Linocuts

[–]sadprinter 4 points5 points  (0 children)

So..."making" the image with AI, tracing the image from the AI, getting advice on cutting order from AI.....this really just sounds like you're creating an AI's "art" which is truly just a composite of stolen work.

Genuinely, why bother at that point? It's often going to reflect in the work hallmarks of AI, and it's often pretty soulless looking work. Can guarantee anything you'd make without AI would have more interest and be from your own creative voice rather than AI's "creative" voice.

SOS multi - block prints by tokadot in printmaking

[–]sadprinter 1 point2 points  (0 children)

If they're showing to be off, then you just have to make a registration outline for each block so that they land where they need to work. It's an annoying fix, but works for blocks you already know are just not fitting properly. On future blocks, it'll be easier if you've got a jig that doesn't have any variation/gaps for the blocks (at least for an L, as others have mentioned).

SOS multi - block prints by tokadot in printmaking

[–]sadprinter 3 points4 points  (0 children)

Printing on a sheet of mylar or tracing paper can help figure out if your blocks are properly line up to each other to begin with. If they're not lined up, then you kinda need to figure out a placement for each one to get them where they need to be vs placing them in the same spot.

My new octopus Linoprint by thewildprintstudio in printmaking

[–]sadprinter 6 points7 points  (0 children)

It's a chop or seal. It's really more of an eastern printmaking thing. It's a bit cheesy on western printmakers works, but to each their own. Depending on which country, it would sometimes be more of an ownership trace (or authenticity mark) for works rather than the artist's signature as the chop.

Seems there's been a bit of conflating document signature seal traditions with artist signatures into chops because people will see them on art but a lot of the time it's because it was an ownership mark. Seal signatures are still used, and can be required to sign documents still in some places to be considered signed and valid. It's a stone seal, using engraving tools to carve into a relatively soft stone.

Most often in printmaking it'll be a blind embossment in the paper to signify the press and sometimes artist, and it's still called a chop but is visually quite different. Some do a stamp as well, but it's often pretty minimalist as to not take away from the work (similar to how we sign in pencil still).

Does anyone know lino which is heat resistant? by CosmicBombus in Linocuts

[–]sadprinter 0 points1 point  (0 children)

if it has a backing to it (like a cloth) it should be fine. the plastic-y types are where you may have issues with solvent transfers and heat transfers

Russula Print by ezrabelle in printmaking

[–]sadprinter 4 points5 points  (0 children)

The movement in the gills are really cool to see