1take advantage

a small zine to inform new students of which print processes are available at Leeds College of Art.

take advantage

2

3take advantage

c o n t e n t s . c o n t e n t s . c on t e n t s . c o n t e n t s . c o n te n t s . c o n t e n t s . c o n t e n t s . c o n t e n t s . c o n t e n t s . c o n t e n t s . c o n t e n t s . c o n t e n t s . c o n t e n t s . c o nt e n t s . 5

11172329354147

woodblock typelaser cutdigital printscreenprintletterpresstextiles printingmonoprintlinocut

4

5take advantage

w o o d b l o c k t y p e . w o o d b l o c k t y p e . w o o d b l o c kt y p e . w o o d b l o c k t y p e . w o o d b l o c k t y p e . w o o d b l o c k t y p e . w o o d b l o c kt y p e . w o o d b l o c k t y p e . w o o d b l o c k t y p e . w o o d b l o c k t y p e . w o o d b l o c kt y p e . w o o d b l o c k t y p e . w o o d b l o c k t y p e . w o o d b l o c k t y p e . w o o d b l o c kt y p e . w o o d b l o c k t y p e . w o o d b l o c k t y p e . w o o d b l o c k t y p e . w o o d b l o c kt y p e . w o o d b l o c k t y p e . w o o d b l o c k t y p e . w o o d b l o c k t y p e . w o o d b l o c kt y p e . w o o d b l o c k t y p e . w o o d b l o c k t y p e .

6

1. Select necessary type block from the drawers and set them left to right, but upside down with the first line closest to you. 2. The type can be held

together in a chase using the necessary leading or furniture, but because of the physical size of the blocks they can often be simply arranged in place and affixed with tape. 3. Roll out the desired ink colour evenly onto a glass surface. 4. Place the type onto the printing bed of the press and align it to where you wish it to print on your chosen stock. 5. Roll the ink evenly across the type blocks, before

laying your stock in place and adding the necessary packing. 6. Wind the bed under the press before manoeuvring the arm, which will in turn print your work. 7. Wind the bed out of the press; remove your work and place onto a drying rack.

Left: the Colombian press used to print the woodblock. Above Right: woodblock type in the drawer ready for selection.

Imm

ediate right: ink being rolled onto the set w

oodblock type

process.

7take advantage

This poster was produced with a monoprint background & woodblock type.

8

All of these images are examples of woodblock type and are close ups of the ‘take advantage’ poster. With woodblock you can produce some beautiful textures, depending on the amount of ink you use, the stock you choose to print on and the amount of pressure you apply (often

determined by the amount of packing). The only negatives about this process are the small quantity of typefaces and sizes available and

perhaps the amount of control you have on the quality of the printed outcome, but that is all part of the fun really.

qualities.

9take advantage

info.If you w

ish to use this print process you will

need to go to the print studio at Vernon Street.

Here you can get an induction into setting

the woodblock type and using the C

olombian

printing press. Depending on the am

ount of letters you w

ish to set obviously effects the process tim

e, but to produce som

ething sim

ilar to the poster on the previous page w

ould take about half a day.

The poster show

cases woodblock type, w

hich was produced w

ith very little cost as the type blocks and ink are supplied; the only cost incurred w

as the choice of stock.

10

11take advantage

l a s e r c u t . l a s e r c u t . l a se r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t . l a s e r c u t .

12

Left: type being cut out by the laser.Above Right: control panel for the laser cutter.

1. Turn the laser cutter and the fume extractor on. 2. Turn on the computer beside and open up Aps-Ethos Series and load in your vectored art work. 3.

Lift the lid of the laser cutter and place stock/material on the bed. 4. Press the Online button, then the Material button, followed by the Enter button. 5. Set the origin, at the bottom left of your material, using the arrow buttons. Press enter. 6. Set your material size, at the top right, using the arrow keys again. Press enter. 7. Adjust the laser head so that it is 3mm from your material. 8. Choose

whether you want the machine to cut or engrave and inform the computer of the material type. 9. Output the file to cut design.

Imm

ediate right: laser cutter being set at the origin.

process.

13take advantage

This poster was produced witha monoprint background & lasercut type.

14

All of these images are examples of laser cut type and are close ups of he ‘take advantage’ poster. With laser cutting you can cut or engrave materials such as, paper, fabric, plastic, most woods and some stone. It can cut vectored or rasterised images, both of any size and reasonably high detail.

The only negatives about this process are how much it will actually cut. For example, you cannot retain counters within letters.

qualities.

15take advantage

info.If you w

ant to use this process you will need

to go to the workshop at B

lenheim W

alk. Here

you can get an induction into operating the laser cutter and preparing artw

ork, This is

induction will need to be booked in advance.

Depending on the am

ount odetail within the

design obviously effects the process tim

e, but to produce som

ething sim

ilar to the poster on the previous page takes about half a hour; m

ostly setting up time

as the cut actually only takes a few

seconds.

The poster show

cases laser cut type, which w

as produced with very little cost as the

machine is available to use, once inducted; the only cost incurred w

as the choice of stock.

16

17take advantage

d i g i t a l p r i n t . d i g i t a l pr i n t . d i g i t a l p r i n t . d i gi t a l p r i n t . d i g i t a l p r i nt . d i g i t a l p r i n t . d i g i t a l p r i n t . d i g i t a l p r i n t . di g i t a l p r i n t . d i g i t a l p ri n t . d i g i t a l p r i n t . d i g i t a l p r i n t . d i g i t a l p r i n t. d i g i t a l p r i n t . d i g i t a l p r i n t . d i g i t a l p r i n t . d ig i t a l p r i n t . d i g i t a l p r in t . d i g i t a l p r i n t . d i g i t a l p r i n t . d i g i t a l p r i n t .d i g i t a l p r i n t . d i g i t a l pr i n t . d i g i t a l p r i n t . d i gi t a l p r i n t . d i g i t a l p r i nt . d i g i t a l p r i n t . d i g i t a l p r i n t . d i g i t a l p r i n t . di g i t a l p r i n t .

18

Left: using one of the available Macs.Above Right: using Adobe Illustrator.

1. Once you have been given your username to access the college network you will be able to use any of the available Macs in the studio or in the

suites. 2. You will find all the latest software at your disposal, which you can obviously choose to use how you wish. 3. There will also be various scheduled induction workshops timetabled throughout your first year.

Imm

ediate right: using A

dobe P

hotoshop.

process.

19take advantage

This poster was produced & printed digitally.

20

All of these images are examples of digital type and are close ups of the ‘take advantage’ poster. With digital production there are obviously very few boundaries, but these particular examples use textures created from monoprinting laid under and over the digital type in Adobe

Photoshop. There are very few negatives to this process and it is the most commonly used process, by Graphic Design students.

qualities.

21take advantage

info.If you w

ish to use this print process you will

be able to access any of the Mac suites and the

digital printroom is located in the basem

en. H

ere you can take advantage of all the industry standard softw

are and print you work at high

quality. The tim

e scale of digital production varies so m

uch, depending on w

hat you are aim

ing to achieve but this particular poster took just over an hour, plus printing tim

e.

The poster show

cases digitally printed type, which w

as produced with little cost as the the

Macs and the softw

are are supplied; the only cost incurred was the choice of stock and printing.

22

23take advantage

s c r e e n p r i n t . s c r e e n p r i n t . s c r e e n p r i n t . s c r e e n p r i n t . s c r e e n p r i n t . s c r e e n p r i n t . s c r e e np r i n t . s c r e e n p r i n t . s c r e e n p r i n t . s c r e e n p r i nt . s c r e e n p r i n t . s c r e e np r i n t . s c r e e n p r i n t . s c r e e n p r i n t . s c r e e n p r i nt . s c r e e n p r i n t . s c r e e np r i n t . s c r e e n p r i n t . s c r e e n p r i n t . s c r e e n p r i nt . s c r e e n p r i n t . s c r e e np r i n t . s c r e e n p r i n t . s c r e e n p r i n t . s c r e e n p r i nt . s c r e e n p r i n t . s c r e e np r i n t . s c r e e n p r i n t . s c r e e n p r i n t . s c r e e n p r i nt . s c r e e n p r i n t .

24

Left: Pulling the ink down the screen with a squeedgee.Above Right: Placing thescreen in the UV exposure unit.

Imm

ediate right: W

ashing a screen w

ith the pressure w

asher.

1. All screens need to be cleaned before use, to remove previous stencils. The screen will need to be sprayed with stencil remover, before being scrubbed

and then blasted using the pressure washer. Leave in the drying room. 2. Once dry the photo sensitive emulsion can be applied to the screen, using a trough. Replace in the drying room. 3. Once this is dry the screen is ready to be placed upon the UV exposure unit. With your positive image underneath, facing upwards. Remember to put the copper wire over the

edge of the screen to avoid static build up. Turn on the vacuum and set the light units according to the wall chart. Once finished, remove and wash gently until the image is transparent. Allow to dry. 4. Clamp the screen into the vacuum bed. To mix the ink you will need two parts print medium and one part of your desired acrylic colour. 5. Now apply a generous amount just above the image on the screen and pull down the screen with a squeedgee.

process.

25take advantage

This poster was produced digitally & then screen printed.

26

All of these images are examples of screen printing and are close ups of the ‘take advantage’ poster. With screen printing you can produce colourful eye catching posters, clothing; as well as printing nearly as fine as a digital printer. With this process you can produce large runs of prints,

relatively quickly, which are all slightly unique. The only negatives are the time it takes to wait for each screen to dry, after cleaning and

the degree of difficulty involved in aligning images with multiple colours, within the design.

qualities.

27take advantage

info.If you w

ish to use this print process you w

ill need to go to the print studio at either B

lenheim W

alk or Vernon Street. H

ere you can get an induction into the entitre process. D

epending on the amount of colours and

quantity of prints you require obviously effects the process tim

e, but to produce som

ething of sim

ilar to the poster on the previous page takes about half a day, m

ainly due to waiting

for the screen to dry betw

een processess.

The poster show

cases screenprinted type, which w

as produced with the cost the screens

starting at 50p depending on the size. The only other cost incurred w

as the choice of stock.

28

29take advantage

l e t t e r p r e s s . l e t t e r p r es s . l e t t e r p r e s s . l e t t e r p r e s s . l e t t e r p r e s s . l e tt e r p r e s s . l e t t e r p r e s s . l e t t e r p r e s s . l e t t e r p re s s . l e t t e r p r e s s . l e t t er p r e s s . l e t t e r p r e s s . l et t e r p r e s s . l e t t e r p r e s s . l e t t e r p r e s s . l e t t e r pr e s s . l e t t e r p r e s s . l e t t e r p r e s s . l e t t e r p r e s s . le t t e r p r e s s . l e t t e r p r e s s . l e t t e r p r e s s . l e t t e r p r e s s . l e t t e r p r e s s . l e tt e r p r e s s . l e t t e r p r e s s . l e t t e r p r e s s . l e t t e r p re s s . l e t t e r p r e s s . l e t t er p r e s s . l e t t e r p r e s s . l et t e r p r e s s .

30

1. Select necessary lead type from the drawers and set them left to right, in a composing stick. It must be set upside down with the notch facing away from

you. You will also need to decide on the line length and then choose the appropriate leading. 2. Transer the type into a chase and hold in place with the necessary amount of furniture and coins. 3. Clamp the chase onto the bed of the type setting proofing press, using more furniture. 4. Ink up the rollers and allow them to disperse the ink evenly. 5. Place your desired printing stock under the mushrooms,

which can be raised by using the foot pedal below. 6. Carefully wind the handle around, moving the rollers and your stock through the press. 7. Remove your work once it reaches the end and carefully wind the rollers back.

Imm

ediate right: the chase on the printing bed, w

ith the set lead type, held in place by furniture

process.

Left: the stock being held in the press by the mushrooms. Above Right: setting thelead type.

31take advantage

This poster was produced with a monoprint background & letterpress type.

32

All of these images are examples of lettterpress type and are close ups of the ‘take advantage’ poster. With letterpress you can produce some particularly unique qualities, ranging from dense areas of colour to some slight underinking, often only achievable from letterpress. This

is most commonly determined by the amount of packing, behind the printable stock, when placed under the mushrooms. The only negatives about this

process is the physical size of the available typefaces, as they only go up to 30pt and there are very few of the larger point sizes.

qualities.

33take advantage

info.If you w

ish to use this print process you will

need to go to the print studio at Vernon Street.

Here you can get an induction into setting the

lead type and how to hold it together in a chase.

You w

ill also learn how to operate the proofing

press. Depending on the am

ount of letters you w

ish to set obviously effects the process tim

e, but to produce som

ething similar

to the poster on the previous page takes a few

hours.

The poster show

cases letterpress type, which w

as produced with very little cost as the lead

type and ink are supplied; the only cost incurred was the choice of stock.

34

35take advantage

t e x t i l e s p r i n t i n g . t e x ti l e s p r i n t i n g . t e x t i l e sp r i n t i n g . t e x t i l e s p r i n t i n g . t e x t i l e s p r i n t i ng . t e x t i l e s p r i n t i n g . t ex t i l e s p r i n t i n g . t e x t i le s p r i n t i n g . t e x t i l e s p r i n t i n g . t e x t i l e s p r i n ti n g . t e x t i l e s p r i n t i n g .t e x t i l e s p r i n t i n g . t e x ti l e s p r i n t i n g . t e x t i l e sp r i n t i n g . t e x t i l e s p r i n t i n g . t e x t i l e s p r i n t i ng . t e x t i l e s p r i n t i n g . t ex t i l e s p r i n t i n g . t e x t i le s p r i n t i n g . t e x t i l e s p r i n t i n g . t e x t i l e s p r i n t i n g . t e x t i l e s p r i n t i n g .t e x t i l e s p r i n t i n g .

36

Left: the heat pressneeded for flock printing.Above Right: the screen in the UV exposure unit.

1. The process for printing textiles follows exactly the same method as screen printing, with cleaning, drying and exposing (see page 24.) 2. The only

difference occurs when instead of pulling ink through a screen, you need to pull a special glue through instead. 3. Leave the glue to dry for at least 5 - 10 minutes. 4. In the time you will need to set a heat press to 180 degrees and 20 seconds. 5. Once the glue is dry and the press has reached the necessary heat you can place the glued stock and necessary amount fo flock into the press, with some newsprint

packing. Close the press lid and wait for the time to elapse. 6. Remove and allow to cool completely before removing the flock.

Imm

ediate right: glue being pulled through a screen.

process.

37take advantage

This poster was produced with a monoprint background & heat pressed flock type.

38

All of these images are examples of flock printed type and are close ups of the ‘take advantage’ poster. With flock printing you can produce work with a textile quality, which is almost three dimensional. You can also print other textiles such as foil. The only negatives

about this process are the lack of detail you can include in the design as the glue bleeds a lot and it is hard to judge how well the glue has printed as it it

nearly entirely transparent, so you can’t tell how well it has printed until the flock is heated and glued.

qualities.

39take advantage

info.If you w

ish to use this print process you will

need to go to the print studio at Blenheim

W

alk. Here you can get an induction into

screen printing the glue and setting up and using the heat press. D

epending on the amount

of prints you wish to do obviously effects the

process time, but to

produce something

similar to the poster

on the previous page takes about half a day, w

ith the drying and exposure tim

es taking the longest.

The poster show

cases flock printed type, which w

as produced with each part of the

process costing a small am

ount. The screen w

as 50p and the flock sheet was £

2.

40

41take advantage

m o n o p r i n t . m o n o p r i n t . m o n o p r i n t . m o n o p r in t . m o n o p r i n t . m o n o p r i n t . m o n o p r i n t . m o n op r i n t . m o n o p r i n t . m o no p r i n t . m o n o p r i n t . m on o p r i n t . m o n o p r i n t . mo n o p r i n t . m o n o p r i n t . m o n o p r i n t . m o n o p r i n t . m o n o p r i n t . m o n o p r in t . m o n o p r i n t . m o n o p r i n t . m o n o p r i n t . m o n op r i n t . m o n o p r i n t . m o no p r i n t . m o n o p r i n t . m on o p r i n t . m o n o p r i n t . mo n o p r i n t . m o n o p r i n t . m o n o p r i n t . m o n o p r i n t . m o n o p r i n t . m o n o p r in t . m o n o p r i n t .

42

Left: the printing press set up for monoprinting. Above Right: one of the hand cut card stencils.

1. Cut out the desired stencil from stock of a reasonable weight, so that it will be able to withstand a good amount of print attempts. 2. Roll out the

ink evenly on a glass surface, before transferring to a suitably sized plastic plate, with the same roller. 3. Place the stock you wish to print onto on the print bed, followed by the stencil and the ink plastic plate. Add some newsprint on top to protect the blankets, which you need to lay over everything. 4. Assure the blankets are flat and wind the bed all the way through the press. 5. Lift the

blankets up and take out your work. This process can can be repeated multiple times, depending on the amount of stencils you wish to print.

Imm

ediate right: one of the hand cut card stencils.

process.

43take advantage

This poster was produced with a monoprint background & type.

44

All of these images are examples of monoprinted type and are close ups of the ‘take advantage’ poster. With monoprinting there are a vast amount of qualities achievable; you can make prints using stencils or by drawing onto or removing ink from your plate. A press isn’t always neccessary

either, sometimes tracing onto your stock, which is layed over the inked area on the glass can be just as effective in the way it picks up ink on the other side.

The only negatives about this process is the time it takes to handcut stencils and perhaps the alignment, when using more than one stencil or image.

qualities.

45take advantage

info.If you w

ish to use this print process you will

need to go to the print studio at either Blenheim

W

alk or Vernon Street. H

ere you can get an induction intothe entitre process. D

epending on how

intricate your stencils are and the amount

of colours you wish to print, obviously effects

the process time, but

to produce something

similar to the poster on

the previous pagewill

take couple of hours.

The poster show

cases monoprinted type, w

hich was produced w

ith very little cost as the inkis supplied; the only cost incurred w

as the choice of stock.

46

47take advantage

l i n o c u t . l i n o c u t . l i n o cu t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c ut . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n oc u t . l i n o c u t . l i n o c u t . li n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c ut . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n oc u t . l i n o c u t . l i n o c u t . li n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c ut . l i n o c u t . l i n o c u t . l i n o c u t . l i n o c u t .

48

Left: the Colombian press used to print the lino cut. Above Right: lino being cut using the correct tool.

1. Cut a piece of lino to the necessary size and trace over your type or image onto the lino using carbon paper. Remember to make sure your image is in

reverse at this stage, in order for it to print correctly. 2. Take you lino-cutting tool and softly and slowly dig away at the lino, until all areas are removed. Leaving a positive raised area. 3. Roll out the desired ink colour evenly onto a glass surface, before rolling onto the raised areas of the lino. 4. Place your stock onto the bed of the Colombian press and then place the inked lino face down onto the area

you wish to print. Add a couple of sheets of newsprint on top for packing. 5 Wind the bed under the press before maneuvering the arm, which will in turn print your work. 6. Wind the bed out of the press and remove your work.

Imm

ediate right: ink being rolled onto the lino.

process.

49take advantage

This poster was produced with a monoprint background & linocut type.

50

All of these images are examples of linocut type and are close ups of the ‘take advantage’ poster. With linocut you can produce both type and image, with lovely textures, depending on the amount of ink you use, the stock you choose to print on and the amount of pressure you apply

(often determined by the amount of packing). The only negatives about this process is the time it takes to cut away all the lino from the area

you don’t wish to print. Also if you don’t remove enough of it, there will often be linear blemishes in your work, (see above), but this can add further texture to your work as well.

qualities.

51take advantage

info.If you w

ish to use this print process you will

need to go to the print studio at Blenheim

Walk

or Vernon Street . H

ere you can get an induction into cutting the lino and using the C

olombian

printing press. Depending on the am

ount of detail you w

ish to have in your prints obviously effects the process tim

e, but to produce som

ething similar to the

poster on the previous page w

ould take about half a day, w

ith the cutting of the lino taking the longest tim

e.

The poster show

cases linocut type, which w

as produced with little cost as the ink is supplied

and the only cost incurred was the choice of stock and the lino itself w

hich was £

1.

52

53take advantage

a small zine to inform new students of which print processes are available at Leeds College of Art.

take advantage

54