"My personal technique using Chine Collé with traditional and innovative etching is the following:
With continuous alterations to a copper plate I print a sequence of black, yellow, red and blue, passing the same plate through the press for each design and color change.
To start with; the first tones to the plate are given with line etching, drypoint, aquatint, softground, photocopy transfer or roulette. I pull my first color. With these first impressions, I work back into the plate with a scraper, burnisher and emery paper to enhance the lights and accent the motif. I then go on to the second, third and fourth colors.
Finally, the print is completed from the back with a relief process of woodcut or linocut to intensify shapes and/or colors.
I print on the paper which best suits my work; this is a thin Japanese paper known as Toyama Kozo (Japanese Mulberry). As in the French use of Chine Collé I apply glue to the back of the Kozo print and pass it through the press, with a heavier rag paper (BFK Rives or Somerset, etc.) beneath. What the viewer sees; is my four color intaglio print saturated with subtle tones that come through the back of a Toyama Kozo paper which is set deep into a rag paper."
Cutout device used in applying ink to reproduce its design upon a surface. The design itself is cut away, and ties are arranged to hold the background together and to give definition to the pattern, somewhat in the manner of lines in mosaic or leaded glass. The pattern is held securely upon the surface, while the stencil brush is manipulated to work the medium over it until every detail is evenly colored. The technique has been employed since ancient times. Japanese employ a tough mulberry paper, making intricate stencils that are collected for their beauty.
Watanabe used a type of 'kozô' paper called 'momigami' (crumpled, wrinkled paper), which was a thick paper purposely crumpled by hand and then only partly smoothed out before printing. It gives his prints a deeper, rough, and more expressive texture than is possible with smooth papers. The stencil process is the same as in Color Stencils.
Plate is coated in ground, and design is drawn. The plate is then immersed in an acid bath, which dissolves the exposed lines. For printing, the ground is removed, ink is introduced into the incised lines, and the plate is wiped clean.
Follows the same process as etching, and the plate is covered with particles of acid-resistant material such as resin and heated to make the particles stick. The treated plate is then placed in an acid bath, which bites into the copper that is exposed between grains of resin, yielding a composition marked by texture and tone.
the artist uses a greasy medium such as crayon or tusche to create a composition on a stone or plate. The surface is then dampened with water, which is repelled by the greasy areas, sticking only to the sections of the plate that have not been marked by the artist. Next, printer's ink is applied to the plate with a roller. This, in turn, sticks only to the greasy sections, as the water protects the rest of the plate.
The entire surface of the plate is roughened by a spiked tool called a rocker, so that, if inked, the entire plate would print in solid black. The artist then works from "black" to "white" by scraping (or burnishing) out areas so that they do not hold ink, yielding the mezzotint's modulated tones.
The artist sketches a composition on a wood block and then cuts away pieces from the surface, leaving only the composition raised. Ink is then applied to the surface with a roller and transferred onto paper with a press or by hand burnishing or rubbing. Since the recessed, cutaway areas do not receive ink, they appear white on the printed image. A different piece is needed for each color.
Technique used by Maki for extra texture in embossing. Maki poured dental cement into a form, and when it was nearly dry, he worked it to produce the desired texture. When pressed onto the paper, the texture would leave an imprint on the paper. This embossing technique is widely used in Haku Maki's Prints.
Combination of Woodblock and Silkscreen. Image that has been cut out of a material such as paper or fabric is attached to a piece of tautly stretched mesh. Paint is then forced through the mesh-or screen-onto a sheet of paper below by means of a squeegee. The uncovered areas of the screen will, of course, allow the paint to pass through, while the areas covered by the compositional shapes will not. For works with more than one color, a separate screen is required for each color.