Briony Morrow-Cribbs demonstrates how she creates a copperplate etching
The lines of the image are incised, or cut, into a metal plate. This can be done with sharp tools, as in engraving, or with acid, as in etching and aquatint. Ink is applied and forced into the incised areas. Ink remaining on the surface is removed, and the plate is ready for printing.
The artist creates a stencil and applies it to a piece of fabric (the screen) stretched over a wooden frame. Ink is pulled across the screen with a squeegee and forced through the openings in the stencil onto a sheet of paper below.
The artist draws on a stone with a greasy crayon and then covers the stone with a thin film of water. The oily ink sticks to the greasy image but not to the water-covered areas
The artist carves the image on a block of wood or linoleum, cutting away some areas and leaving others raised (in relief). Ink is then applied with a roller which contacts only the raised areas, creating a mirror image.
Block Printing: Techniques for Linoleum and Wood by Sandy Allison & Robert Craig.
A step by step guide for the block printing process. It explains how to carve properly and safely, and how to print by hand using more than one color. It also includes advice for selecting tools, paper, and ink.
The Complete Printmaker by John Ross, Clare Romano, Tim Ross.
From the traditional etching, engraving, lithography, and relief print processes to today’s computer prints, Mylar lithography, copier prints, water-based screen printing, helio-reliefs, and monotypes, The Complete Printmaker covers various aspects of fine printmaking. The book also includes a survey of issues and contemporary concerns in the printmakers world.
Monotype: Mediums and Methods for Painterly Printmaking by Julia Ayers. A brief history of monotype is followed by a comprehensive chapter on materials. The step-by-step instructions are accompanied by some of the finest examples of monotype being done today.