NINA is the name I gave to the printing technique, which consists in a mixture of direct drawing on plates printed through a mono-type process.
The translation of the drawing into a graphic media is the main motive to achieve this type of printing. Nina is a flat bed print with a touch of lithograph technique.
The hole approach is the mixture between dry materials, oil based inks and the repeal it creates with the water.
It is a technique that opens many possibilities once you start working with it.
The first time I presented prints using the technique was in The Santa Barbara Museum of Art, Ridley Tree, in an art piece called DAIKU, worked with the composer Christopher Jette.
Demo of NINA at Santa Barbara City College
New ways of using the NINA technique have been bursting since in my own work and also in others.
An example of this is Michael Powell an art student from UCSB at CCS in Printing and Painting, with whom we have shared approaches, techniques and work.
Michael Powell print using NINA technique
Or the students at the Santa Barbara City College in February 2009, with an invitation from Stephanie Dotson the Intermediate and Advanced Print Class teacher. I had the opportunity of giving them a demonstration of the technique on their studio.
Instructions:
1. Damp the paper in water (manage it like a etching paper)
2. Prepare the copper plate (you can also use Zinc plates or even Acrylic) with a coat of transparent base, applied with rollers.
3. Work over the copper plate with graphite and dry pigments.
4. Print through the flatbed press with a pressure very close or exactly as the etching pressure.
5. The print will be a mono-type, but you will need to re-ink the plate after working the first time, to fix to the paper the graphite .
NINA
The translation of the drawing into a graphic media is the main motive to achieve this type of printing. Nina is a flat bed print with a touch of lithograph technique.
The hole approach is the mixture between dry materials, oil based inks and the repeal it creates with the water.
It is a technique that opens many possibilities once you start working with it.
The first time I presented prints using the technique was in The Santa Barbara Museum of Art, Ridley Tree, in an art piece called DAIKU, worked with the composer Christopher Jette.
Demo of NINA at Santa Barbara City College
New ways of using the NINA technique have been bursting since in my own work and also in others.
An example of this is Michael Powell an art student from UCSB at CCS in Printing and Painting, with whom we have shared approaches, techniques and work.
Michael Powell print using NINA technique
Or the students at the Santa Barbara City College in February 2009, with an invitation from Stephanie Dotson the Intermediate and Advanced Print Class teacher. I had the opportunity of giving them a demonstration of the technique on their studio.
Instructions:
1. Damp the paper in water (manage it like a etching paper)
2. Prepare the copper plate (you can also use Zinc plates or even Acrylic) with a coat of transparent base, applied with rollers.
3. Work over the copper plate with graphite and dry pigments.
4. Print through the flatbed press with a pressure very close or exactly as the etching pressure.
5. The print will be a mono-type, but you will need to re-ink the plate after working the first time, to fix to the paper the graphite .