Inductions
Perfect Binding
For the first workshop we went into the Digital Print Centre to learn how to safely and efficiently use the machines for Perfect Binding. This process allows you to create a book with many pages and a spine, giving the piece a professional and polished look. We used the binding machine, the large guillotine cutter and the round edge cutter in this workshop, but we were also shown the binding strips and the machine which heats up and sticks the pages together ready to be stuck to the separate book cover.
To do perfect binding, first you use the binding machine to create the creases on the book cover. All of the instructions are found on the machine, telling you how to adjust the machine to your projects dimensions to make sure the creases are in the correct place. Then you collect your inside pages and add the binding strip to the spine edge. Heat up the machine and place your pages in with the strip side inside the machine. The glue will heat up and bind the pages together. To polish the edges you use the large guillotine cutter. Place your project inside, lower the clamp, lower the safety guard, unlatch the safety latch and pull the large handle to the left to cut through all of the pages. To add a curved edge you can use the curve cutter by placing your pages inside and pressing the handle down. This induction was very useful as it means I can use this technique for creating zines with many pages and confidently being able to give it a professional look, broadening the types of outcomes I can create in my modules.
Laser Cutting
For this induction we went into the Workshop and met with Simon who gave us an introduction into how we can use the laser cutting facilities. This means that we can now utilise these machines and create 3D outcomes and models, as well as engraving and marking pieces.
First we were shown the different materials that the University provide us, including MDF, clear acrylic, and styrene. He explained that each material has their drawbacks, such as the MDF may get burn marks form the laser. In order to use these facilities we need to create vector based designs with BLACK in the areas I want to cut and RED the areas I want to mark but not fully cut through, and save as a .ai, .eps or .pdf file. Then email this to Simon including what material it should be cut from. Alternatively, you can take it straight to the Workshop to discuss it in person with him to save communication delays. He will then provide you with the payment details and after you have paid, the project should be completed the next day, or it may take longer if it's close to the busy hand in period. Overall I found this workshop to be useful as it means I now can create 3D models for projects and experiment with a new medium.
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Riso Printing
The Riso Printer prints a colour at a time making layers, somewhat like screen printing. For this workshop we went into the Digital Print Centre and were shown what sort of outcomes you can produce by using the Riso, and how to use the machine safely and correctly in our own projects.
The Riso Printer only uses a limited number of inks. At the Uni we have red, yellow, green and black, but more colours can be made by layering them to mix the inks eg. red with yellow on top will make orange. You can also alter the tone, whether its a light or dark colour, by using the Half-Tone option which creates dots (large dots/ dots further apart will change the tone created). You load the inks and the master roll inside the front of the m machine, making sure waverthing is done slowly and carefully as each piece only fits in a certain way. With the ink it is also important to make sure the arrow is In the right place as this means the ink is lock into place and ready to be used. The machine will inform you of any errors so it is important to pay attention to the screen. Paper is loaded into the left side of the machine, lowering the bed and closing the correct thickness of paper before you begin. The right side is where the printed paper will come out, and you need to ensure the flap is up to catch the paper as they come out quite fast. The machine has instructions printed on it and the screen tells you the steps so most of this process is straight forward one you start to use it.
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To make a document ready for Riso Printing you need each colour as a seperate layer to be printed on its own as seen above. Then make each of these coloured layers black and print, this becomes almost a stencil as it will be used to create the master. Lace the first layer. into the top middle of the Riso, eight the top of the design closest to you, and close the lid then press make master. This will make a new master on the master roll ready for the ink to print through. Yet this point you chose the settings for your master: Line= flat colour, Photo= half-tone effect/ dot process 1-4, Contrast= 1-5, Size= scale up or down if you want. Make sure the master disposal is empty before you start, this is where the old masters will go. Once you have printed the firs master you can chose how many copies you want, then repeat this process, including a new master, for each layer. Sometimes wet ink gets caught on the ball where the paper enters the machine; if this is the case then all you have to do is lower the bed and wipe the ink off, then run the test piece through to be sure the ink has gone.
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You print a colour layer at a time so it is important to be careful when changing inks. Again, follow the instructions on the machine but make sure you put it back in the case and close it correctly to avoid the ink drying out. If paper gets stuck, open the ink tray and gently lift it off. If this keeps occurring you can change the Reservation which puts less ink through making paper less likely to get stuck.
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The Riso printing effect is one I really like and think it adds a fun aspect to the final piece, therefore I found this workshop really informative as it is a technique I have admired but never knew how to do.
Screen Printing
Just like with Riso Printing, with Screen Printing you work a layer at a time, building on the design with a limited colour pallet to create a very distinctive effect. It is useful for printing on fabrics or metals as this is something you can't do with the Riso. As well, it is good if you want different or unique colours as you mix them yourself unlike with the Riso.
First you make the Illustrator document with he different colours on different layers, exactly like before. However, this then gets printed on to acetate, not scanned by a machine. Once on the acetate you can create your screen. Turn the lights off in the screen printing room and open the wooden cupboard to take a screen covered in emulsion. Then place this on the rack in the bottom corner, add the acetate on top and turn the lamp on, starting a timer for 2 minutes time. In this time you can turn the lights back on and wait for the screen to be exposed. Once the timer is up, move the screen to the wash area and hose off the emulsion to reveal your image; make sure to check all the emulsion is gone in order to get a crisp and detailed screen, you can check this by holding it up to the light and checking your shape. Once done, dry the edges of the screen then gently use a hairdryer across it to ensure its completely dry. Clamp the screen onto the table then add your paper underneath to begin the process of rendering. Use the acetate template from before to align your paper and the print, then tape the paper to the table to use as a template in order to keep all your pieces aligned. you might need to add pieces of scrap appear to the edges if there are exposed spaces the ink might go through but you don't want it to. To make the ink, use at least a 1:1 ratio of acrylic paint and print medium, but more print medium can be used to make the paint colour less vibrant. Add a large amount to the top of the screen, then using the squeegee at a 45º angle, pull the ink across the screen to create the print. once satisfied with he amount of ink that has transferred through, you can move on to the next image. It is very important you flood the screen before moving on though so the ink doesn't dry; to do this, gently pull the ink back across the screen to create a thick layer which will stop the screen drying out. Once you have finished with all the prints of this layer, you need to wash the screen as soon as possible using the hose and sponge to get all of the ink out, then leave to dry so you can use it again if needed, or so it can be reused in future. Make sure to also wash the squeegee. You repeat this process for all of your layers, ensuring you correctly render, flood and clean the screen to create the best outcomes. I really enjoyed this workshop as screen printing is something I have always wanted to try, especially to print on fabric like t-shirts or tote bags, so learning the process is very useful.
