You can get roulettes at E C Lyons. ( http://www.eclyons.com/index.php?main_page=index&cPath=11&sort=20a&page=4 ) They have a large supply with examples of the patterns that each size makes.

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I have used thin plates of 5″ x 7″ aluminum flashing for chimneys sold in hardware stores, very cheap. These seem to work well for drypoint, would like to find larger ones.

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On a related issue, I would be interested in seeing how roulettes work out on acrylic sheet. I haven’t tried it myself, but one person I know who has found the results printed very poorly with only a limited impression left on the paper.

I am just starting my first plate today, to experiment with mark making and get a feel for the surface and tools. I have read that you lose the burr pretty quickly on the plexi or soft plastic printing plates…maybe 10 to 12 or even less. Perhaps someone who has experience could weigh in. I’ll post results if I have any learnings worth sharing.

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I have become fascinated by the effects achieved by drypoint and have seen some wonderful work with both drypoint alone and in combination with other techniques. I find the use of materials other than metal make this quite accessible for experimentation. So far plexiglass and Akua printing plates seem to be good options.Any other suggestions? Also, I have purchased a regular and a diamond point ‘scribe’….any suggestions on the difference in use? Other tools? Any advice on experimenting with drypoint? Your experiences good or bad combining techniques?

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I have also experimented with paper plate drypoint (the thin coated type of cardboard used in cereal boxes, etc…). As for plastics packaging plastic, acetate, even mylar will work and I can also recommend thin aluminum (oven liners). I love my diamond drypoint scribe..it was a smart investment. I haven’t purchased one as yet but a roulette is another tool that will add texture to plastic and metal surfaces in addition to our drypoint scribes. I have also pressed fine grit sandpaper into a metal and acrylic plate surface to add texture and tone (would probably work with paper plate as well). Just remember that drypoint will only yield a small number if you are doing an edition.

I use aluminium flashing too! It works slightly differently to plastic, in that plastic doesn’t have a grain so it is arguably easier to “draw” onto the plate. Plastic seems to die faster, however. I like to scratch the surface of the plate with sandpaper, and I leave a lot of ink on the plate, wiping back highlights with a rag. I use real tarlatan – tried using phonebook pages, but never really got good results.

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I’m using acrylic sheet and finding that after maybe 6 or 7 I start to lose the characteristic soft line very quickly. I can extend this a little by careful inking – don’t use a squeegee because that will accelerate the process. I use a ‘dabber’ made from taped up rolls of j-cloth or similar or a piece of sponge inside a j-cloth. I’ve also found that if I make the print on paper that has been first painted with colour washes (use acrylics for this otherwise the colour will run!) any break down of the line is masked to a degree by the underlying colour. I will post some examples when I get the chance.

I have not heard of a paper (cereal box) plate before. I am interested in that and the oven liners. How is that going through the press though? Does it flatten the impression in the “plate?”

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Thanks so much! I was looking at the roulettes. I wish they provided examples of what is meant by coarse, medium and fine but when nothing is known, I usually start in the middle. I won’t be working any larger than 8 x 10. Very excited to try this. Have you combined any other techniques with drypoint to good or not so good ends?

I did find once, but now can’t, a multi-tip scriber capable of making several lines at once in parallel, but again I think this was an etching tool rather than for drypoint.

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I have often wondered how many prints you could get out of the edition on a plexi plate in comparison to a nickle plate. Would anyone know?

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I did some experimentation with roulettes on Akua printing plates which are described as softer and easier to mark. While one of their videos showed a roulette being used, neither the coarse nor a random egg shaped roulette left an appreciable impression. I used a variety of scribes however with results I like. I found a diamond point to be excellent for fine and lightly shaded impressions and a standard scribe better for darker/deeper. Best of all was a cheap set I bought for scupting kids Sculpy style clay that had two tools with scribe type points. Best control of mark making and even superior to diamond point making smooth curves. Very happy with these discoveries! Hope this helps someone.