Printed the three lino plates - used relief method and intaglio method. Also combined relief and intaglio on one plate: intaglio first then carefully rolled ink over the top.
Finally printed all three plates ontop of each other, setting up a registration sheet first to make sure they aligned. Too much white showed through so the plates were printed again but first using a blank plate rolled in yellow. (Yellow blank plate, then raw umber mixed with yellow, dark raw umber, black). Used less extender for successive plates.
Paper was dampened by a spray and placed in the blotters.
Initially used the etching press but the lino slipped and the images were not sharp. Moved on to the wood press which was better.
This three plate image works best for me - the tool is there, just about, like a ghost arising from the mist. It's a memory of the tool, as printmaking could be seen as a memory of the original image - whatever it was.
The other image which I'd like to work on is the 3rd intaglio plate, where a small square remains in the middle. (Plate achieved by etching over the whole thing in one go.) The material and the process start to make the final image.
Danny Rolph said I should look at ghost storis - M.R. James, and artists such as George Raoult- The Judges - apparitions. Also Frottage and Max Ernst, looking at the technicality of their work where the character of the surfaces shows through. I'm keen on Max Ernst's "Grattage" - where the canvas was placed over a texture and paint scraped over it. Chance happenings. I will pursue that in print.
Finally printed all three plates ontop of each other, setting up a registration sheet first to make sure they aligned. Too much white showed through so the plates were printed again but first using a blank plate rolled in yellow. (Yellow blank plate, then raw umber mixed with yellow, dark raw umber, black). Used less extender for successive plates.
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| relief total plate with acid |
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| relief - 20min staged acid |
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| relief - stop out |
Initially used the etching press but the lino slipped and the images were not sharp. Moved on to the wood press which was better.
 |
| intaglio on total plate with acid |
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| intaglio on stop out image |
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| intaglio on 20 min staged acid |
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| relief - 3 plates, first plate blank |
The other image which I'd like to work on is the 3rd intaglio plate, where a small square remains in the middle. (Plate achieved by etching over the whole thing in one go.) The material and the process start to make the final image.
Danny Rolph said I should look at ghost storis - M.R. James, and artists such as George Raoult- The Judges - apparitions. Also Frottage and Max Ernst, looking at the technicality of their work where the character of the surfaces shows through. I'm keen on Max Ernst's "Grattage" - where the canvas was placed over a texture and paint scraped over it. Chance happenings. I will pursue that in print.
Wooo...ghosts!
ReplyDeleteYes, that's a rich seam for process, about what's mostly lost, and what shows through, palimpsest, lacuna
For critical reading look up "hauntology", Derrida's play on ontology. Think how history works in the artwork, even in the short history of a making, as here in this blog.
And if you haven't read it on the course already, read Duchamp on the Creative Act. Sort of about a spiritual intermediary.