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Author: Sarah_Wittmer, Contributing Editor
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| When it comes out, you should get something like this (except with your plate image, of course):
Note that while photography isn't kind to a lot of media, it absolutely hates embossings, and I have yet to get a flattering digital image of one. This is where you need to check the pressure on your press. The only real way to tell if the pressure's appropriate is if the embossing comes out. Rule of thumb: if you're satisfied with the clear, distinct impression you get, there's enough pressure; if the paper's excessively wrinkled, the pressure's too great. |  |
| Okay, here's the last step: ink prints. There's probably a fancier name, but I don't know it, so we're just calling them ink prints.
Silkscreen ink is the right consistency for these prints, and that's what I used. If you try to use block printing ink, you will get very frustrated very fast - because of its consistency, it's harder to get on and off right. Silkscreen ink is the consistency of . . . of . . . ah, silkscreen ink. If you're making do with something else, you figure it out. |
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To ink your plate, put ink on your plate. It's really that simple. Rub it on and cover the ENTIRE thing - get it into every nook and cranny you can see as well as the ones you can't. Once again, the cracks and lines are what print, not the large shapes. So if there's no ink in those cracks, you'll have a mighty sorry-looking ink print. The easiest way to ink these is to wear gloves and just get a little bit of ink at a time directly from your jar of ink using your hands. Then, rub it on. Do as I say, not as I do. If you don't wear gloves, there will be ink still remaining on your hands for a good three to four days, especially around and under your fingernails. I know these things. I have experience! But I don't particularly care about the ink all over me and the waterbased acrylic ink seems harmless enough. |
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