Mixit

Mixit Print Studio
Mixit Partners
Photo credit: Robin Z Boger

Adrienne Ginter
Secret Forest

Mongezi Ncaphayi
Migrant Housing

Mixit Print Studio
Working a plate

Anne Neely
Squall

Anne Russell
The Collector

Annie Silverman
Out the Back Door

Aparna Agrawal
Lost Song 2

Mixit Print Studio
Takach press

Beth Galston
Drilled

Boriana Kantcheva
Mishka and Nibbles

Bree Curtis
Rock Circles

Mixit Print Studio
Running a large
print

Carlyn Marcus Ekstrom
The Sun and Moon Were In Opposition

Catherine Kernan
Give / Take

Steve Black
January Thicket, Looking West

Charlotte Kaplan
Sunbeam Mixmaster

Mixit Print Studio
Preparing the press

Etching Demonstration: Mongezi Ncaphayi
01
First, the copper plate
is washed and
degreased to remove
all oily residues from
the surface, so the
etching fluid is able to
make full contact with
the copper.

Etching Demonstration
02
The printing paper is
placed in a water bath
to soften and expand
the fibers. This
enables the paper to
pull the ink off of the
plate more effectively.

03
Layers of felt, called
“blankets”, are placed
on the press to even
the pressure of the
metal roller into a
consistent, strong
force.

04
Next, the etching ink
is scooped from the
can and prepared for
printing. Depending
on the image to print,
the printmaker may
modify the ink with
various additives,
making the ink softer,
harder, or easier to
wipe.

05
The printmaker then
applies the prepared
ink to the surface of
the etched copper
using a card or other
flat tool. The areas
that are etched will
grab on to the ink as it
is applied.

06
The excess ink is then
wiped from the plate
with a starched piece
of cheesecloth called
a tarleton. The
printmaker can use
the tarleton to control
the amount and
consistency of the ink
left on the plate.
However, non-etched
areas are usually
wiped clean.

07
A thin film of ink,
called “plate tone”,
can be removed
gently with paper.
Phone books are an
excellent source of
such paper.

08
The inked plate is
then placed on the
press. The soaked
paper is set under the
blankets and folded
over in preparation for
printing.

09
The printmaker then
cranks the large wheel
on the press to draw
the paper and the
blankets under the
large metal roller. The
high pressure from the
metal roller presses
the paper into the
crevices of the
etching, drawing out
the ink wiped into
them.

10
The paper is removed
from the plate,
showing the ink that
has transferred to the
surface.

11
The finished print,
drying!

Chris Mindis
Sunflowers

Danette English
Woman on the Wire

Dorothy Thompson
Winter Calligraphy

Mixit Print Studio
Polishing a copper
etching plate
Photo credit: Dianne Henning

Elizabeth Nicula
Ways and Means

Heddi Vaughan Siebel
Whatever

Ilana Manolson
Putting Down Routes

Mixit Print Studio
American French
Tool Etching Press

Jackie Miller
Expressions 6

Jan Arabas
Photo credit: Robin Z BogerHanuman Chases the Sun

Jane Goldman
There is No Map

Mixit Print Studio
Cast-Iron
LeDeuil Press

Jean Pascoe
Night Sky, Raven Passing

Jesus Matheus
Sign / Form

Joel Janowitz
Steps

Mixit Print Studio
In the studio

Julia Murray
Somewhere Over the Rainbow

Julia Talcott
Onward and Upward

Karen Crowley Falkoff
Acid Tears

Mixit Print Studio
Placing paper

Karen Walter
Unearth

Kent Vienot
32 Clifton St

Kim Berman
Rethinking Ink: A Pathway

Mixit Print Studio
Morning at the
Studio

Liz Shepard
Up and Out

Lori Schouela
Enlightened Moment

Lynn Geiger Murray
Along the Way

Mixit Print Studio
Final cleaning of a
printing plate

Marcia Lloyd
Traces

Marty Epp-Carter
Losses and Gains

Monotype Demonstration: Joel Janowitz
01
A monotype is a form of
printing where inks are
applied to the printing
surface by brush, roller
or other means.
Monotypes share many
qualities with painting, in
that brushes are used
and the hand of the
artist is directly involved
in producing the image.
The monotyped image
cannot be duplicated
exactly, unlike with other
printmaking techniques.
Monotypes are usually
printed on paper, and a
press is an integral part
of the process. Also,
residual ink on the plate
will still print multiple
times, allowing
interesting layering
techniques to be used.

Monotype Demonstration
02
Here a roller is being
used to apply ink to
the printing surface.
The surface is usually
Plexiglas. Plexiglas is
strong, cheap, easily
cleaned and
transparent. An artist
can trace designs or
photographs laid
underneath and then
work with the ink
above to create new
images.

03
Monotyping also
allows for easy editing
and erasing. Here the
artist removes applied
ink with a rag. He may
choose to leave some
ink behind, creating
transparency effects
and areas of lighter
color.

04
Sometimes the artist’s
hand is the best tool
for the job. Finger,
palms and heels of
the hand allow direct
control of the ink
surface.

05
Q-tips enable fine
detail work.

06
Brushes can paint
with ink, but can also
paint with solvents.
Using solvents over
ink makes ripple
effects and can lighten
the color that prints.

07
Here the artist softens
the edges of the large
crescent shape with
his fingers.

08
A small brayer is used
here to create streaks
and stripes in the
background
composition.

09
The present monotype,
on the Plexiglas plate
on the right, is
compared with a
previous version of the
print.

10
Satisfied with the
image, the artist
prepares to print. He
will use paper soaked in
water to expand the
fibers, which will help
pull the ink off the
printing plate.

11
The print is run through
the press, and the
paper is pulled off the
printing surface. Notice
there is still ink left on
the plate below. The
artist can use this ink to
create a new variation
on this composition.

12
The finished print,
hanging up for drying.

Mary Sherwood
First Time

Nancy Popper
Float

Mixit Print Studio
Printmaking Inks

Nona Hershey
Portal

Peggy Badenhausen
Sequence 2

Peter DeCamp Haines
Nine-element Persona

Mixit Print Studio
Applying stopout to
a copper plate
Photo credit: Dianne Henning

Phillipa Cully
Untitled #2 (Oxalis)

Phyllis Ewen
Waterways NE

Prilla Smith Brackett
Wellspring

Rachel Atkinson Chapman
Table II

Mixit Print Studio
Washing a copper
plate to remove
grease and etching
fluid

Randy Garber
To My Surprise

Robert Siegelman
Untitled (Missing Pages)

Robin Z. Boger
Photo credit: Hallie Boger Hartman
Whakatauki

Mixit Print Studio
The Studio is built
into a building that
once housed the Mix-
It Soap Company.

Sandra Butler
Structural Impermanence: Bridge Rift

Susan Schmidt
Once there was and once there was not

Mixit Print Studio
Printmaking
workspace

Ted Ollier
25 Permutations of 25

Thaddeus Beal
Four Poles

Wendy Prellwitz
September Morning Creek Photo credit: Robin Z Boger

Jane Wilson
Photo credit: Robin Z BogerMake Hay

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