Intaglio requires a paper that can be dampened without falling apart and that is able to pick up the finest detail from the plate.
Rag papers, either handmade or mould made, are traditionally used in intaglio because of their long fibres.
Hahnemuhle, Magnani, BFK RIVEs, Arches (Black). Stonehenge paper is made of cotton linter - its short fibres can resist picking up the finer details: tonal ranges and colour. It also retains much of the moisture in the blotting which can sometimes resist inks.
Lino:
The paper you need will vary depending on whether you're hand burnishing or using a press...
- If using a Press it is possible to use a heavier paper like Stonehenge.
- If Hand Burnishing ~ Lighter finer smoother surface paper is recommended – eg rice papers.
- - A small selection of Japenese Rice Papers - -
(Keep in mind that the names of paper may vary depending on the supplier)
- Kozo is a tough paper from the mulberry plant, it retains its strength even when crumpled or folded.
- Gampi papers are translucent and tough. They have wet strength and are resistant to insects. Good for chine colle.
- Hosho is a traditional high quality kozo paper, strong and absorbent. It does not shrink or tear easily.
- Chiri is handmade from long kozo fibres with small pieces of bark imbedded in it.
- Kinwashi is machine made, short and thick fibres, smooth on one side with bark inclusions on the other
- Indian papers are primarily made from Khadda, unbleached hand spun rag left over from the garment industry. The cotton and hemp rag along with gelatin or wheat starch give the papers good strength.
Screenprinting:
In our studio we use water based inks due to their lower toxicity. For this reason a sturdy paper is needed to avoid too much water absorption, which causes the paper to buckle. eg Stonehenge.
Excerpted from - http://printmaking-studio.westernsydneyinstitute.wikispaces.net/Notes
WSI, "The studio manual 2010 including OH&s".
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