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Wednesday, March 18, 2015

A Big Relief: Printing with an Asphalt Roller




This article by Pam Stephens and Shantelle Kotowich was published in the 2015 March SchoolArts Magazine.

What happens when an asphalt roller meets large sheets of medium density fiberboard, an abundance of printing ink, and lots of student enthusiasm? It’s a highly visible art event that produces jumbo relief prints while fostering support for visual arts education. This article details how such an event was planned and successfully accomplished. 


 Overview
Relief prints are created when artists carve designs into materials such as blocks of wood or linoleum and then cover the raised parts in ink before pressing the design to paper. Typical classroom exploration of relief printing uses blocks that rarely exceed the size of pre-cut papers. Similarly, printing presses for these blocks are compact. Because our prints were as large as 4’ x 8’, we had to think on a grander scale in terms of tools, materials, and place.


As one might expect, the budget for oversized tools and materials (not to mention rental of an asphalt roller!) far exceeds most art program funds. It was for this reason that grant writing became tantamount to realizing the event. Going hand-in-hand with grant proposal writing was contacting local news media for promotion. The excitement quickly built and we were soon fully funded.


As one might expect, the budget for oversized tools and materials (not to mention rental of an asphalt roller!) far exceeds most art program funds. It was for this reason that grant writing became tantamount to realizing the event. Going hand-in-hand with grant proposal writing was contacting local news media for promotion. The excitement quickly built and we were soon fully funded.



Materials 
  • ·      Medium density fiberboard (4’ x 8’ x 1”)
  • ·      Black markers
  • ·      Cutting tools
  • ·      Muslin, 48-inches wide
  • ·      Oil-based black relief printing ink
  • ·      Petroleum jelly
  • ·      Tape measure
  • ·      Painter’s tape
  • ·      Clothes line and clothes pins
  • ·      Tables and inking plates
  • ·      Hand-inking rollers (large diameter)
  • ·      Carpet padding
  • ·      Barens (if needed)
  • ·      Asphalt roller (rented or loaned) 





Preparing to Print
Students were given the option of working on a full, half, or quarter sheet of medium-density fiberboard (MDF), a cost-effective material that is available in a variety of sizes and thicknesses at most home improvement stores. MDF is soft; therefore easy to carve. It is also flexible under high pressure.


After designs for the boards were sketched, each was then drawn onto the chosen size of MDF. Black markers were used to fill in areas where carving would not be used. Carving of the MDF required between nine and 12 hours per design. To save time on printing day, muslin was pre-cut into desired lengths of four, seven, or nine feet. Each length was labeled, folded, and placed on a rolling cart.




Print Day Sequence
1)    Since printing requires a flat surface, our parking lot was scoured for the best place. After the ultimate spot was found, painter’s tape was used to mark exact placement of each size of MDF. Careful measuring assured that each print would be accurately registered.
2)    Tables and an inking station were set up near each other. Oil-based black ink was mixed 4:1 with petroleum jelly.
3)    Clothes line was strung among the Ponderosa pines.
4)    Printing blocks were brought outdoors.
5)    The ink-petroleum jelly mixture was applied to inking plates, rolled out, and transferred to the MDF.
6)    When each design was completely inked, teams of students lifted the block to cautiously place it within the marked parameters of the registry area.
7)    Another team of students placed a sheet of muslin over the inked block and held the cloth taut.
8)    A third team placed a layer of carpet padding over the muslin.



At last the asphalt roller was started. Anticipation built as the roller slowly moved over the block and then reversed. Student teams returned to the block, removed the carpet padding, and amidst cheers from the crowd lifted the first print that was then hung on the clothesline to dry. This process was repeated throughout the day. Each block was printed multiple times so that all students would have at least one print for a portfolio, one for an upcoming exhibition, and one to sell or give away.


Follow Up
The Steamroller Print Event was so well received that we will repeat it in the future. Publicity generated far outweighed the time and effort involved. Using over-sized tools is somewhat different than using traditional-size tools. We recommend that students are provided time to experiment and practice with the large carving tools and hand-inking rollers prior to the event.   

Pam Stephens is a member of the SchoolArts editorial board and is Professor of Art Education at Northern Arizona University, Flagstaff.  Shantelle Kotowich is a senior with a double major in art education and studio art at NAU.   






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