This print shows a dialogue, or perhaps an exploration. Are they perhaps looking down a tunnel? Or watching a sunset?
This is a chine collé print from a copper etched plate. The paper is thin Japanese paper brought to me by kind friends directly from “Paper Nao” in Tokyo. You can see how the plate was made on this link: Strange landscapes from wood
The plain print, with no chine collé, looks like this:
The coloured bits are placed on top of the plate, glue side up. I’ve described the process on this link: The chine collé process
Here is work in progress:
Ink: Gutenberg black from Intaglio Printmaker.
Glue the little bits of paper on the *top*. Note the tweezers.
The coloured paper is “fibre silk” paper from “GreatArt.com”
I lift it with tweezers and put it to dry on another piece of newsprint. When dry, I move it carefully to the plate: glue side UP.
I thought the sketch was rather lively and might make a good etching. Here’s the copper plate I made:
And here are some of today’s prints: (click to enlarge)
The plate needs a bit more work I think. The background could be darker and perhaps some shading on the tower itself. My idea is that I will print it with perhaps chine-collé. So I want to keep the design simple.
I just had the morning at the print studio today.
The paper is Chinese paper from Great Art. Numbers 11369 (soft), and 11565 (white, with a slight grid). The ink is Intaglio Printmaker Shop Mix Bone Black. The plate is 10cmx15cm copper plate from Great Art, which I prepared with hard ground 28 June 2018. I used the Rochard press at East London Printmakers.
On a recent walk in Hoxton, I picked up a piece of wood. Perhaps it was part of a crate. It had interesting grain.
John cut it into smaller pieces with a saw.
I was going to use them as relief blocks. Then I got talking to a fellow printer at East London Printmakers. She suggested I press them into soft ground and make an etching plate. Then I thought I’d use the Albion press to get sufficient pressure.
The technician, Dan, asked if I had aquatint on there, and I hadn’t. Can you put aquatint on top of soft ground? We went off to consult the studio co-ordinator. She said yes, aquatint was good idea.
So here’s the process:
Prepare plate with soft ground
Press wood into soft ground using the Albion Press. This makes an impression with darker places where the wood was.
Put aquatint (dust) onto the plate, and fuse it with the gas burner. The soft ground burns and goes brown. The aquatint fuses onto the plate in the darker places.
Etch in acid, Edinburgh etch, for two minutes.
Clean off the plate and print.The aquatinted areas are dark.
Here’s the result.
Here’s the other block, with chine collé stripes added. I’m not sure which way up it should be. Since this whole session was experimental, I also used some experimental paper from the Vintage Paper Company. They say on the package: “This was made some time between 1969 and 1973 as waterleaf (unsized) printing paper by J Green and Sons (brilliant but now extinct British papermakers). I had it gelatine sized in December 2017 by Two Rivers Paper (brilliant and very much alive and kicking British papermakers” and they ask for feedback. I think it worked really well, and I’m now off to write them an email.
The Towers are St Mary’s Tower and Peabody Tower, just to the North of the Barbican.
I made 14 reasonable prints, and 2 out-takes. I glued the out-takes into my notebook. I make one page per print session, and record what I did, what paper and ink I used, what worked and what didn’t. This is in an attempt to learn and improve my printing technique.
Here are the 14 reasonable prints, numbered 1 to 14. Numbers 1-13 are on card 20cm by 30cm. This card size is intended as a greeting card. When folded it fits neatly into an A5 envelope. Number 14 is on larger paper. All are for sale, £5 each plus postage. Please contact me by email via the contacts page, or leave a comment on this page. The red writing is on the online image here, not on the print.
Click on an image to enlarge it. It may take a little while to load.
These are all part of my “Towers Project” leading to an exhibition in the Barbican Library February 2019.
I work in the print studio at East London Printmakers. Prints are on Fabriano Unica Paper, using Intaglio Printmaker Bone Black ink. They are printed by hand on the Henderson press. Each print takes about half an hour to print.
They are all for sale! Please let me know if you would like to buy one. All are printed on etching paper “Fabriano Unica”. They are intended to be used as greetings cards. So the print is to the side like this:
They fold in half to make a greeting card which fits in a C5 envelope.
Folded to make A5 card
Folded to make A5 card
Fits in C5 envelope
Fits in C5 envelope
Equally they can be folded in half or cut, and put in a frame size A5.
If you’d like to buy one, please contact me, and say which one you’d like. They are numbered – click the images in the gallery above. £5 each + postage. These are handmade items by me, an amateur printer. Thumb marks, imperfections, ink smudges and other defects reflect the handmade nature of the items and, as they say, “should not be regarded as defects”.
This was an aquatint with 6 tones, which is about the maximum I can achieve. On the 4th and 5th dip it’s difficult to see what I’m doing.
These pictures are postcard-size, with the intention of making cards.
Here’s the test plate print.
I’m in the question about whether the aquatint needs more work. I thought it did when I first saw it, but now I’m not so sure. It isn’t as dark as the photo looks. Comments welcome.
Aquatint and test plate on Khadi handmade paper. Hard ground print on handmade paper from Paperchase. Printing done at East London Printmakers. Ink is Intaglio Printmaker “Shop Mix Bone Black” from a tube. Etching on 10cm x 15cm copper plate using Edinburgh Etch.
Walking on the way to the print studio I decided I would do two colours. Furthermore, I thought that the second colour, with black, should be green, as absinthe is sometimes called the “la fée verte”. Rooting about in the leftovers box at the Print Studio I found some green ink.
The long process of making the plates took all morning. I watched the rain fall into the canal. Perhaps some of this atmosphere went into the print. Making a two-colour print means:
placing the colour-ink plate on the press.
roll over until the plate is out but the paper is trapped under the press roller
lift the press blankets and remove the plate without shifting the paper or the template
get the black-inked plate
put that plate very carefully in the same place on the template
replace the press blankets and roll back over
The potential for error is great. The most obvious error is to put the second plate in up-side-down.
I printed the plates in the afternoon. The error that happened first time round was that the green ink didn’t print at all. Not a dot. Examining the tube very carefully, reading the writing between the splodges on the tube, I saw that it was “block-printing ink”. Lesson: block printing ink does not work for etching/intaglio process. OK.
This is why the background is brown, using the Charbonnel etching ink which I had brought with me. This is very reliable, but is brown not green.
Here is the single colour black, one plate in hard and soft ground.
Here is an out-take, the very first print of this series. The bottles are in hard-ground only, and the registration is totally off. But perhaps that weird dislocation is appropriate for a picture of an absinthe table.
Here’s a sketch of the absinthe table from February this year: