I do it all the time. False atmospheric perspective, for example, that exaggerates depth. I see drawing as a collection of visual clues that we supply to our viewers. The atmospheric perspective has been stretched to create more recession, and the two birds are deliberately placed to enhance the gap between background and midground — contrasting their relative sharpness against the soft, misty trees and sky. Lower down, the central dog is larger than it should be.
It was sized for balance and presence rather than natural accuracy. To overcome that, the fence behind it has a false perspective — it recedes more quickly than it should.
But it provides scale alongside the dog and then seamlessly connects that to the scale of the brush and trees behind it. The adjacent drawing defines the edge. Printing is not so much an art as a frustration! Later I understood the inherent limitations of printing.
Offset-litho uses a pattern of dots, so four adjacent round dots will always possess a white patch in the centre where they meet. Printing, therefore, is a compromise between what you want it to look like, and what the technology can accomplish.
I like the results on Arches watercolour paper, hot press, and on Canson Infinity printmaking rag paper museum quality. Arches and Canson are excellent and well-respected papers, but are they as smooth as Mellotex?
Ivorex morphed into Mellotex, and Mellotex was exclusively available as an archival quality printing paper. Now that Mellotex is deceased, we have Conqueror Diamond White — also an acid-free, archival, plate-finish paper for the printing industry… so it would be an ideal choice for offset-litho printing. Finding a bright white paper, in my experience, is not easy. It claims to be bright white and to generate high contrast. However, it might give a visually perfect result — not exactly the same as your original but presenting its best qualities.
Personally, I aim at producing a pleasing and saleable print rather than trying to faithfully reproduce every aspect of the original drawing. You have to bear in mind that only you, and not your potential purchasers, have seen the original drawing. The coatings are pH neutral, acid free and are specially-designed to work with dye and pigment inks.
Shelf life is a year from the date of purchase. Because the bleed of inkjet printing on uncoated paper reduces contrast and sharpness, the results are usually unacceptable. Coating paper with an inkjet receiving layer solves the problem.
When I changed my Printer, the new company experimented with 4-colour printing, believing they would reproduce finer detail. As a result, I have one print with an overall pale blue colour-cast and another with a sepia cast. Nothing we tried could solve that problem. Instead of mixing colours to obtain greys, this system uses a black and two grey cartridges. Switch the colours off and colour-casts are banished! Previously, with offset-litho printing we used Duotone printing.
That uses two or the four 4-colour plates: we used black ink for one and a warm grey for the other. The result was excellent, within the bounds of offset limitations. That worked even better! That, and opting to print using only blacks and greys, guarantees there cannot be a colour-cast present. Now experiment with the opacity until you achieve a grey print with a touch of warmth from the sepia overlay.
That should give you the ultimate in control over the appearance. The printer who produced the Ducks Unlimited prints last year did a great job but his press is meant for large volume runs. A run of 10 would be cost prohibitive. Mike Sibley. FREE 1. VIDEO 1. Creating Powerful Gradations! By Mike Sibley. Still Life And Obser These Simple Steps T Arrow - Life Line Dr Line Drawing Heidi B Line Drawing Still L Rickey On Twitter Li Tags: life , line.
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