Simply stunning - really just what I needed this Friday evening as I begin to explore the possibilities - thank you very much for your clarity of explanation and tone of joyous encouragement!
Your process is fascinating. The designs are so clean. I’m assuming you are using oil based inks. Please correct me if that’s wrong. I hope your channel is very successful and look forward to more inspiration. Thank you
Hi Karen, just wondering what ink you're using? Is it oil-based? Also, I love this technique, but I was told the Pochoir technique pushes the ink through a stencil with a stencil brush, not using a press at all. I'm not sure what your technique should be properly called, but I love it! Thanks.
Lee on this occasion I was using my favourite ‘intaglio printmaker’ etching inks. I have also used in classes and teaching, water based inks, and by far I got the best results from ‘Speedball Professional Relief Ink’. I know that Pochoir usually relates to the stencil painting technique; I think it is also a good word to describe the printmaking processes too. Thank you so much for taking the time to comment. Karen
Nice! A question: Could one possibly do the same without a printing press but by burnishing by hand instead? would I use the same inks as discussed in the comments to this video?
Martin, the results would not be as effective by hand especially in the 2nd and 3rd generation of ghost prints as they require more pressure; for me they are the more interesting outcomes.
Hello Karen! Thank you for sharing this lovely technique. I wasn't clear on what you cut the stencils out of (what the stencils are made of?). Could you clarify please?
Hi, this is a fantastic process. I am wondering if it is possible to clean the stencils and Re-ink them since they are plastic. Or like collagraphs can we seal the stencil with some medium so they can then be reused.
Hi Karen, thank you so much for sharing this pochoir technique. Im impressed and inspired. I love printmaking; so far only using linoleum, and the back of a wooden spoon, but fun nentheless! I read the comments and after subscribing to your channel, I had a really quick browse to find more info on a materials list and more info on how to soak paper prior to printing. Excuse me if I missed seeing, but could you tell me....for this particular video instruction: 1. The PAPER you used, and HOW TO MOISTEN 2. What you used as the PLATE for background colour and to hoiuse the stencils 3. Which make/brand of black MARK-MAKER did you use to draw the stencils. (Shouldnt assume, but was it watercolour, non permanent?) 4. Also, is there an all around good quality PRINTING PRESS that you could suggest that i could use for different types of printing like those in your videos. Is there a difference between the use of a roller press and a press press?( haha You know what I mean) I live in Canada. Not that it matters to chat but maybe for acquiring a press. Thank you again for sharing your talents and for your time, Carol
I have never seen this technique before. I really wish you had explained it more. Like what you used for the plate and the stencils and the ink. I hope I can find some more information somewhere.
Hello…I am happy to answer; the plate/matrix can be any metal or PETG/Plexiglass. The stencil was cut from a very thin plastic/acetate. You can use water based Akua or oil based printing inks, I recommend Akua inks and non toxic processes. 😊
Hi Brilliant. What is the material you use for the stencils....I know you mentioned acetate, but wondered if it was anything particular?.....and do you ink the base colour, on a sheet of metal?. Thank you!
Hello Anne, I used oil based inks. It works well with any oil based including safer water soluble like inks like Akua. Most flat surface papers will work I was using Fabriano. Thank you for watching. Karen
I really love what you're doing! It's fabulous And i can't wait to start. Your voice tails off sometimes and it's hard to understand so some audio consistency would help me a lot.
a collograph is creating a textured matrix through collage and then shellacing the plate so it's waterproof and then printing either intaglio or relief
Karen - I'm watching this a 2nd time - what ink have you used to rollup the plate and cut-outs? Also I think a scalpel would be helpful for removing the cut-outs from the plate (post press).
@@katmcgee9516 -- "caramel cache".....eh ? .....Oh I think you mean "Caran D'ache" water soluble crayons. At first I thought "OH is this something I don't know about .....as in, applying some caramel etc to the plate - might get some great effect but I realise it is probably a consequence of that predictive text thing.
I was using Fabriano paper for printmaking. Most flat service printmaking paper will work well. We soak the paper for around 15 minutes then pat dry, this helps to pick up all the fine detail from the plate. Thank you for watching 😊
I love this! I'm a newbie, so this might be a basic question. How were you able to re-ink the stencils for the 2nd generation prints without them moving around? I am assuming that you were using water based inks or paint which would have dried by the time to the second gen composition was ready to be printed. Or were u using oil based inks which were still wet, but lighter?
Hello, thank you for your question. The stencils were not re-inked for the second and possible 3rd generation print as the overlapping beauty of the colours are what make this process. I have used oil based inks on the video but other quality water based inks like Speedball work well too. Good luck, Karen 😊
Thanks for clarifying.I am using Speedball inks. With regular Speedball inks I will have to add extender then. Alone they sometimes dry even before I'm done inking one plate. That's why I thought you re-inked the plate.
Hello, I used a fine sharpie marker, this and pencil will transfer. Depending on the image I will leave this on or clean off with methylated spirits. Good question, thank you! Karen
Karen great technique and beautiful prints love your palette. Have a couple of questions, best ink type? Should a retarden be used? It would look like you made 3 prints from the same 2 sets of plates. Any recommendation on reads, Vedio’s, internet courses. Thank you so much for letting in this wonderful light through your window. Kindest regards emile michel PS How much tie for getting 3 prints out of 1 plate set?
Michel, glad you liked it. I actually just used oil based inks at hand, intaglio etching! I have tried many ink and like those; and Speedball relief for classes as they are water soluble with great pigment. I got 3 sets from each plate of good quality. I don’t rush between each print, but don’t take a break either; the ink stays open for a while! best wishes Karen
Standard acetate is good, I used true grain because I had some at hand. I mostly use my etching inks from intaglio printmaker London. If I’m out teaching a class I often use Speedball relief inks as they are water based. In the video I’m using Intaglio Printmaker inks. Karen
Hi, I used a thin plastic based material to cut the stencils so that I can reuse them at a different time. Acetate sheets are easy to find in both stationery and art shops.
Hi, I use either, in the video I am using oil based but more often use water soluble inks like Akua, especially for teaching. Same results, non toxic and easy to clean up. 😊
So this is a technique for those who already know how to do printmaking, because you don't mention what those plates are you're using or the inks you use. An interesting process though.
Hi Cat, the inks can be water based or oil based printing inks or oil paint or bars. The plates; aluminium, Steel, zinc, plexiglas or plastic. Hope that helps.
Finally! Quality professional printmaking content on youtube
Thank you Lucy! 😊
This is a technique I hadn't seen before. Thanks for your clear and colourful explanation.
Glad it was helpful! Thank you 😊
Very exciting technique, with beautiful results. Clear and concise video. Thank you for sharing ❤😊
Simply stunning - really just what I needed this Friday evening as I begin to explore the possibilities - thank you very much for your clarity of explanation and tone of joyous encouragement!
Really interesting. Thanks for sharing. Never seen this process before.
My pleasure 😊
Be well Karen, looking forward to future videos and seeing more of your artwork
Wow - what a brilliant technique - thankyou so much for sharing 😊
Terrific! The last 2 were especially fabulous!
This is gorgeous plus you’re a great teacher
I really really liked this. Thank you for sharing!!!
Love your work! very inspirational.
Thank you so much for this video. The result is amazing. I can't wait to try it)
really excellent Karen
Nice work, the prints and the instruction
Your process is fascinating. The designs are so clean. I’m assuming you are using oil based inks. Please correct me if that’s wrong. I hope your channel is very successful and look forward to more inspiration. Thank you
Wow! Gorgeous!
Wonderful imagery, valuable technical inspiration.
So much fun! I would love to try something like this. Thanks for sharing.
Leigh, Thanks for watching!
Hi Karen, this was simply fantastic! Thank you.
Mrs Paper, Glad you enjoyed it! x
Amazing process. Love the final results.
Thank you! 😊
Thankyou! Lovely 🙏 will be doing my first class on this technique in a couple of days - really looking forwards
Have fun! x
Beautiful! Thank you!
Absolutely fascinating! Thank you.
Thank you Sue x
Excellent tutorial !
Love love love this video. thank you!
Glad you enjoyed it! Karen
Awesome! Thank you! 🌟🌟
Nice fine arts. Concentrated work.
Thank you Chris
love it!! thank you for the very thorough video!!
Glad you enjoyed it!
That was tremendous! Thank you.
Than you Lauren 😊
Hi Karen, just wondering what ink you're using? Is it oil-based? Also, I love this technique, but I was told the Pochoir technique pushes the ink through a stencil with a stencil brush, not using a press at all. I'm not sure what your technique should be properly called, but I love it! Thanks.
Lee on this occasion I was using my favourite ‘intaglio printmaker’ etching inks. I have also used in classes and teaching, water based inks, and by far I got the best results from ‘Speedball Professional Relief Ink’. I know that Pochoir usually relates to the stencil painting technique; I think it is also a good word to describe the printmaking processes too. Thank you so much for taking the time to comment. Karen
Love what you shared with the world!!! thank you
Nice! A question: Could one possibly do the same without a printing press but by burnishing by hand instead? would I use the same inks as discussed in the comments to this video?
Martin, the results would not be as effective by hand especially in the 2nd and 3rd generation of ghost prints as they require more pressure; for me they are the more interesting outcomes.
Hello Karen! Thank you for sharing this lovely technique. I wasn't clear on what you cut the stencils out of (what the stencils are made of?). Could you clarify please?
Hello, I used ‘true grain’ which is a polyester drafting film, you can also use acetate or any thin flexible plastic. Best wishes.
@@karendaye-hutchinson8345 Thank you for your kind reply! Happy Sunday✨✨
@@karendaye-hutchinson8345 thanks!
Hi, this is a fantastic process. I am wondering if it is possible to clean the stencils and Re-ink them since they are plastic. Or like collagraphs can we seal the stencil with some medium so they can then be reused.
If you use plastic, you can just wash the ink off with soapy water. It’s quick and easy. I use also use recycled plastic from packaging etc.
Hi Karen - at last I found some printmaking QUALITY !!
Thank you so much Aine
Hi Karen, thank you so much for sharing this pochoir technique. Im impressed and inspired.
I love printmaking; so far only using linoleum, and the back of a wooden spoon, but fun nentheless!
I read the comments and after subscribing to your channel, I had a really quick browse to find more info on a materials list and more info on how to soak paper prior to printing. Excuse me if I missed seeing, but could you tell me....for this particular video instruction:
1. The PAPER you used, and HOW TO MOISTEN
2. What you used as the PLATE for background colour and to hoiuse the stencils
3. Which make/brand of black MARK-MAKER did you use to draw the stencils. (Shouldnt assume, but was it watercolour, non permanent?)
4. Also, is there an all around good quality PRINTING PRESS that you could suggest that i could use for different types of printing like those in your videos.
Is there a difference between the use of a roller press and a press press?( haha You know what I mean)
I live in Canada. Not that it matters to chat but maybe for acquiring a press.
Thank you again for sharing your talents and for your time,
Carol
Magical!
haha sorry for the typos...no happy typing accidents when on a public forum
Can you use either side of the stencil on the second and third generation?
Yes of course! I recommend this to create the most exciting and surprising results.
So inspiring! Thank you for sharing. Have you/ will you do any on-line workshops?
Maybe one day! xx
I have never seen this technique before. I really wish you had explained it more. Like what you used for the plate and the stencils and the ink.
I hope I can find some more information somewhere.
Hello…I am happy to answer; the plate/matrix can be any metal or PETG/Plexiglass. The stencil was cut from a very thin plastic/acetate. You can use water based Akua or oil based printing inks, I recommend Akua inks and non toxic processes. 😊
what an interesting technique
Hi Brilliant. What is the material you use for the stencils....I know you mentioned acetate, but wondered if it was anything particular?.....and do you ink the base colour, on a sheet of metal?. Thank you!
What type of acetate did she say she was using?
Fantastic. Thank you for sharing (-: Marion
Thank you Marion 😁
What kind of ink used? Oil or acrylic based? Intaglio?
Hello Anne, I used oil based inks. It works well with any oil based including safer water soluble like inks like Akua. Most flat surface papers will work I was using Fabriano. Thank you for watching. Karen
I really love what you're doing! It's fabulous And i can't wait to start. Your voice tails off sometimes and it's hard to understand so some audio consistency would help me a lot.
Correct pronunciation is
po-ssh-wa.
Great layering of your images.
Thank you 😊
This looks like collograph. What is the difference between them please?
a collograph is creating a textured matrix through collage and then shellacing the plate so it's waterproof and then printing either intaglio or relief
What type and weight of Mylar do you
use for your stencils? Rough for watercolor? Is your ink water based!
Hi Kat, I use a thin version like a acetate. A smooth printing paper. Water soluble (not water based) or oil based printing inks.
Do you use oil paint or printing inks?
I use printing inks, usually oil based but water soluble like Akua work beautifully.
Karen - I'm watching this a 2nd time - what ink have you used to rollup the plate and cut-outs? Also I think a scalpel would be helpful for removing the cut-outs from the plate (post press).
What inks did you use? I’m assuming water based as you used caramel cache water solubles?? Had trouble hearing!
@@katmcgee9516 -- "caramel cache".....eh ? .....Oh I think you mean "Caran D'ache" water soluble crayons. At first I thought "OH is this something I don't know about .....as in, applying some caramel etc to the plate - might get some great effect but I realise it is probably a consequence of that predictive text thing.
So was it caran d’ache that you used? Never answered after your astute observation on my missed auto detect! 😉
@@katmcgee9516 Yes, it was the water soluble crayons; I use them a lot in my mono prints too. Karen x
@@digitalbrayer 😂
....and what is the paper you are printing on? ;-)). Thank again. You mentioned that you soaked it?
I was using Fabriano paper for printmaking. Most flat service printmaking paper will work well. We soak the paper for around 15 minutes then pat dry, this helps to pick up all the fine detail from the plate. Thank you for watching 😊
I love this! I'm a newbie, so this might be a basic question. How were you able to re-ink the stencils for the 2nd generation prints without them moving around? I am assuming that you were using water based inks or paint which would have dried by the time to the second gen composition was ready to be printed. Or were u using oil based inks which were still wet, but lighter?
Hello, thank you for your question. The stencils were not re-inked for the second and possible 3rd generation print as the overlapping beauty of the colours are what make this process. I have used oil based inks on the video but other quality water based inks like Speedball work well too. Good luck, Karen 😊
Thanks for clarifying.I am using Speedball inks. With regular Speedball inks I will have to add extender then. Alone they sometimes dry even before I'm done inking one plate. That's why I thought you re-inked the plate.
What type plate are you using and what type of paper for the stencil? Thanks!
Hi Kat, I use either plexiglass or steel plates. In the video I used Fabriano, any smooth surface printing or watercolour paper will work. 😊
Hi. Wondering if you run workshops? Thanks
Do you mean online? 😊
Karen, what did you use to draw/outline your cutouts? I like how it transfers into the print
Hello, I used a fine sharpie marker, this and pencil will transfer. Depending on the image I will leave this on or clean off with methylated spirits. Good question, thank you! Karen
Thank YOU so much!
Karen great technique and beautiful prints love your palette. Have a couple of questions, best ink type? Should a retarden be used? It would look like you made 3 prints from the same 2 sets of plates. Any recommendation on reads, Vedio’s, internet courses. Thank you so much for letting in this wonderful light through your window. Kindest regards emile michel PS How much tie for getting 3 prints out of 1 plate set?
Michel, glad you liked it. I actually just used oil based inks at hand, intaglio etching! I have tried many ink and like those; and Speedball relief for classes as they are water soluble with great pigment. I got 3 sets from each plate of good quality. I don’t rush between each print, but don’t take a break either; the ink stays open for a while!
best wishes
Karen
Thank you! What kind of acetate did you use? And what kind of ink?
Standard acetate is good, I used true grain because I had some at hand. I mostly use my etching inks from intaglio printmaker London. If I’m out teaching a class I often use Speedball relief inks as they are water based. In the video I’m using Intaglio Printmaker inks. Karen
what are you using for your plate?
Aluminium and plexiglass in this particular video. 😊
what paper did u use for ur stencil
Hi, I used a thin plastic based material to cut the stencils so that I can reuse them at a different time. Acetate sheets are easy to find in both stationery and art shops.
Are these water base inks or oil base?
Hi, I use either, in the video I am using oil based but more often use water soluble inks like Akua, especially for teaching. Same results, non toxic and easy to clean up. 😊
Is there a good site to get stencils like these?
Just make your own! Lay some thin recycled plastic - or purchase some from craft store over drawing or photos; trace and cut. Hope that helps.
Hi Karen could you please tell me why you dampen the paper before printing?
It helps the ink to transfer more evenly.
Thank you John.
So this is a technique for those who already know how to do printmaking, because you don't mention what those plates are you're using or the inks you use. An interesting process though.
Hi Cat, the inks can be water based or oil based printing inks or oil paint or bars. The plates; aluminium, Steel, zinc, plexiglas or plastic. Hope that helps.
@@karendaye-hutchinson8345 Thanks :)
Really hard to watch a 15 minute video that has 5 ad breaks.
Figure it out!
Wow. That’s a lot!