I’ve been busy the past week-hands on artwork on the Man Who Couldn’t Hear Orange. Making some odd discoveries about the finishing of the background textile area. Serendipitous solutions happening. Will post pix when finished with the oddity section!
Wanted to share a website for printmakers. I joined up and made a swell page in under and hour. It’s Free! I ended up with a page /picture gallery that can be viewed as a slide show. Artist’s statement. You can upload video/links/and blog on the site. Looks very clean and professional.
INKTERACTION International Printmakers Network
This is the link to my page-check it out and see if it suits your needs!
Today’s print is a drypoint collograph. A direct and inexpensive way to print. Does require a press! The plate is made from matboard, coated front and back with artist’s acrylic gesso. ( Usually 3 times front/twice back. Let dry between coatings. You can texture the plate with brushstrokes, or make a relatively smooth surface.) The front and back are sprayed with an acrylic coating-twice each side). All you need is an etching needle, or some similar sharp point to draw into the plate.
I used oil printers ink-not too stiff! and a tarlatan to wipe/finish wipe with newspaper. I used a strong, colored Japanese paper-wet! to print. This print was Chine collé’d to Tan Rives BFK when the original print had dried. I can get at least 10-20 images from a plate. Since drypoint can be so unforgiving, I find this frees me up to be more experimental. So much cheaper than copper!
Clean up should use very little liquid/solvent. The more wet the plate gets, the shorter time it will last. The liquid seeps into the lines of the plate and the paper absorbs it. A good idea to edition the plate in one or two sessions.
I usually prepare multiple plates at a time-in modest sizes-so i have a stock on hand when the mood strikes. If you have any questions-contact me!
This print of coiled snakes has been printed on many colors of paper, and used in some of my Natural History monoprints…