March 23rd, 2012 | Add your Feedback (0)
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Mumble, grumble, mumble … *)
Rabbit No. 4 now drying in studio ^_^…
I finally have a couple of prints from all current editions and can start on something new!
Hmmm, maybe some more copper sulphate etchings?
Will see…
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*) the Artist would like to express her annoyance with the treacherous Fates of printmaking, but
a) she does not want to bore you
b) she actually is afraid said Fates might be listening…
… shhh!
March 20th, 2012 | Add your Feedback (0)
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The Beaver drying on newsprint
Now. There are good days in the Printstudio and there are …
…. not so good days. Last Friday nobody was there to let me in. Now, that’s kind of okay, I was 30 minutes late, so I had to wait another 30 minutes for Nick to come back from lunch …^_^… fair enough.
But. It then took me over an hour to figure out that the black smudges on my prints are not caused by my dirty fingers; a person, of very little brain, used the water-bath to colour their paper with black ink. Naturally he-she-it cleaned it just bad enough for the next person to not see the stains on the edges and even the glass to dry the paper on….
AHHHHHHHHHHHHH!
Anyway, all is well that ends well, and I left with 5 good Beaver prints ^_^…
February 17th, 2012 | Add your Feedback (0)
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Puh! What a relief. It took almost three month to replace my old, for-some-reason-not-available-any-more @#$%^&, printing paper. After I had tried every other paper available in Wellington, wasting an obscene amount of time and money, I sent a sample to Fine Art Paper in Christchurch, and encountered friendly, even exceptional, helpfulness! Small samples were sent, selections made, bigger samples were sent, proofs printed, paper ordered, paper sent, and finally today: a paper-stress-free day in the print studio!
The kind of darkness…, etching by minu
For copper sulphate etchings, I’ll use Tiepolo, made in Italy. It has a warm white colour, a smooth surface, and withstands rigorous pressures. It is mould-made out of 100% acid-free cotton.
For the Afternoon Tea series – and most other drypoint on Perspex or PET series – I’ll use the new Revere paper, because of its slightly whiter colour. The 100% cotton paper is made in Italy by Magnani, with a nice ecological touch ^_^ using hydro energy and no chlorine.
I can highly recommend both papers for all intaglio printmaking techniques.
All is good that ends good.
Many thanks again to Fine Arts Paper.
November 12th, 2011 | Add your Feedback (0)
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After a chat with Basia Smolnicki at Inverlochy about copper sulphat etching, I googled the topic and found this sentence on nontoxicprint.com:
“The characteristic of aluminum is the crystalline structure within the metal, which is revealed by the copper sulfate’s action. This means there is no need for aquatinting to get solid color or lighter tints of any hue.”
In short: no more messing around with powdered resin or spray colour! I had to try this!
Last week I had all the materials together and started on a test etch. It works! So I went on and etched my first aluminium sheet. Now, I won’t tell you how I did it… seeing that I did everything wrong ^_^; however, it still worked (kind of).
I’ll do it the right way next time and take some pictures of the process ^_^…
Exciting!
February 3rd, 2011 | Add your Feedback (0)
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Time to get back to some printmaking ^_^…
… First proof on brown paper …
… Woodcut plate in progress …
… The sketch …
July 19th, 2010 | Add your Feedback (1)
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Afternoon Tea – The Badger, Preview
Next to the ‘Fragile Shadow’ works, new ‘Afternoon Tea’ prints will be part of my wall at the New Zealand Art Show 2010 as well. This one is the badger and my favorite so far ^_^…
Afternoon Tea – The Badger, Preview Detail
June 11th, 2010 | Add your Feedback (0)
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The Visitor’s Friend (working title) – first proof
She accompanied me to the print studio today. She said she wanted a portrait with her best friend. I said: ‘Fine, where is he?’ She said: ‘Why, he is standing behind me!’…
May 14th, 2010 | Add your Feedback (2)
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This is a follow up post on my tutorial about Drypoint etchings (…›‘How To: Drypoint on Perspex (Plexi-glass)’ ). This post describes how to apply different ink layers onto one plate to print various colours in one go. I use this technique in the ‘Afternoon Tea’ and ‘Miyu’ series. The plate is inked using Charbonel oil based etching inks, the plate is pulled using a professional etching press on Hahnemühle etching paper and now … the interesting bit ^_^ …
Miyu Shhh… No. 6
The plate is prepared like discribed in ‘#1 Transferring the artwork onto the plate’ keeping in mind that various colours will be used. For the Miyu prints all the lines should be black, so I cover the plate with black ink first, making sure that the ink reaches down into the incised lines. I carefully wipe the surface ink from the plate using gauze.
May 10th, 2010 | Add your Feedback (0)
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I had a quite successful day in the print studio today – after some not too successful experiments the last couple of weeks ^_^…!
I am still working on the balance between lines, colours and background tones. Other than the ‘Afternoon Tea’ prints the ‘Miyu’ prints are simplified, the colours very subtle and the background almost white.
I will remember to take my camera next Monday and take some shots, documenting how the colours are applied to the plate and carefully wiped. Both the ‘Afternoon Tea’ and the ‘Miyu’ Series are printed in one go, with up three colours applied to the plate before printing.
November 24th, 2009 | Add your Feedback (9)
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There a million different approaches to drypoint printmaking. This post describes one approach. There are different schools and different characters. Rumor has it that you can’t print with water based colours and a book press. Actually I can ^_^…
This post was first published on The Lighthouse Kepper’s Cat (my general musings) on January 15th, 2009.
Traditional printmaking techniques like drypoint or etching enables an artist or print maker to print a certain amount of prints (edition) from a handmade plate. The plates are inked and the ink is transfered from either the surface (relief printmaking e.g. woodcut or linocut) or the incised lines (intaglio printmaking e.g. etching or drypoint) onto paper using a printing press.
In drypoint printmaking an image is incised into a plate with a hard-pointed “needle”. Traditionally the plate was copper, but today plexi-glass is commonly used.
Intaglio printmaking processes follows three steps.
June 15th, 2009 | Add your Feedback (0)
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My apologies for the lack of posts! As promised the Sunbear finally joins the Red Panda!
We visited the Sunbear in the Wellington Zoo on the same day as the Red Panda, but it took a while for me to sketch the very first version…
Read the rest of this entry »
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