Natural fiber composites have great potential in developing printmaking matrix due to their unique properties and benefits. These composites are made by combining natural fibers such as wood dust, bagasse, rice straw or any wood waste, which results in some significant artistic practice for printmaking. Printmaking is a form of fine art in which the work involves the transfer of images from the surface of one matrix to the surface of another matrix. This printmaking work was produced using various techniques and approaches, and artists always conducted a wide range of trials and investigations, all directed towards producing important output printmaking itself. Thus, this study considers some possibilities of their aesthetic qualities, natural fiber composites offer a unique texture and visual interest that can enhance the final print. The fibers in the composite can create a natural grain pattern that adds depth and richness to the image, and the subtle variations in color and texture can create a sense of organic warmth and authenticity. The experimentations will be conducted in a lab polymer with a semi-scientific approach that looks at any subsequent result for each outcome to explore new forms of artistic expression. Another benefit of natural fiber composites is their versatility. They can be easily shaped and moulded into various forms, making them suitable for various printmaking techniques, including relief, intaglio, and planographic printing. Natural fiber composites can also be combined with other materials, such as rubber and LDPE (Low-Density Polyethylene), to create a hybrid printmaking matrix that offers even greater possibilities for artistic expression.
Lois, A. (1997). Contemporary Printmaking in the Northwest. Sydney: Craftsman House.
Anna Thibodeaux, (2000). Wood Alternatives. Retrieved May 26 ,2021 from http://www.modernwoodworking.com/00issues/december/news/design2.htm
Anonymous, (2005). Market Watch 2006 –Sector Timber. Malaysian – German Chamber of Conferences. October 12.
Alps, (1996). Contemporary Printmaking in the Northwest. Sydney: Craftsman House.
Kate Greenaway ,(1901) Rev Bucky (2005). “woodblock was costly”. Retrieved Mac 23,2021 from http://www.speel.demon.co.uk/artist2/greenway.htm
Lois, A. (1997). Contemporary Printmaking in the Northwest. Sydney: Craftsman House.
Long Thien Shih, (1993).Communication in Graphic – Printmaking, National Art Gallery Kuala Lumpur.
Materials most commonly used for this technique are wood and linoleum. Retrieved Mac 23, 2021 from www.art.eku.edu/programs/print/tech/linoleum.html
Printmaking technique (n.d). Retrieved June 15 ,2021
fromhttp://www.experimentalarts.com/lessons/releif_printing.htm
Peijis, T., Cabrera, N., Alcock, B. (2002). in Proc. of 9th International Conferences of Fibre Reinforced Composite- FRC 2002, Gibson, A.G (Ed) : March 26-28 , 2002. Newcastle upon Tyne, UK
Rick, C. (2006).Carving through the plywood end grain would be difficult. Retrieved June 19,
2021 from http://66.102.7.104/search?q=cache:ajRvpgPsS-
8J:www.ringlibertyring.com/+plywood+is+difficult+to+carve&hl=en&ct=clnk&cd=6&cli ent=firefox-a
Richard S. Field. (n.d). Contemporary Printmaking in the Northwest. Sydney: Craftsman House.
Sasha, G. (1993 ). Australian Printmaking in 1990s – Artist Printmakers 1990 – 1995 . Sydney: Craftsman House .
Suttie, E. (2004). Wood Waste Management- UK Uddate Final Workshop COST Action E22 ‘Environmental Optimisation of Wood Protection’ Lisboa- Portugal, 22-23 March.
Ukiyo-e(n.d) Retrieved January 09 ,2021 from http://en.wikipedia.org/wiki/Ukiyo-e
Urs, B. (2002). Recycling Woods A Supplement to Recycle Works, Retrieved April 10, 2021 from: http://www.ncsu.edu/woodrecycling.
Youngquest, (1986). Holz-asl-Roh-Und Werkstoff 44:453-45
Laidler, P.(2009). Printmaking-New And Old technologies-A Conversations Paul Coldwell (2010). Printmaking: A Contemporary Perspective. Black Dog Publishing. London,UK.Zucker, P. (1963). Styles in Painting, The Factors That Shape Style.