Posted: March 29, 2013 Filed under: lithography, printmaking | Tags: contemporary printmaking, direct transfer litho, lithography technique, printmaking, printmaking demo, stone lithography
I’ve gone a bit off-track with my posts of late – excitement about artist books took over for a bit there! So back to lithography. I’ve got a backlog of posts about various processes I’ve been learning. So here’s the first – printing my very first litho stone. (This was actually over a month ago now – how time flies!).
The drawing on the stone was made using hard and soft litho crayons and rubbing block. Unfortunately I forgot to document the processing of the stone – I’ll have to do that with another one. When it came to taking the first prints, I was amazed by the amount of detail the stone retained – it was so true to the original drawing, but after a few more the image started to fill in in the non-image areas, and it was evident that the stone needed some more etching, (despite having had two gum etches already). This is in order to de-sensitise those areas to grease, so that when the oil-based ink is rolled on, it only adheres to the greasy image-areas.
Stone filling in – evident from the grey tone on the non-image areas. This is why it’s important to really look at and try to remember your image before processing and printing, so that you know which marks should and shouldn’t be there.
Applying a further gum etch to the stone with a paint brush. A strong mix of gum arabic and nitric acid is applied to the strong areas of the drawing and non-image areas to clear out any grease, and a weaker mix is used for delicate areas of tone, so as not to clear these areas out completely.
Stone etched back and ready to proof again.
The stone is printed with a 50/50 mix of ‘Noir a Monter’ (non-drying black ink) and Crayon black ink.
A leather nap roller is used to roll the ink. When using any black ink other than non-drying, the roller should be thoroughly scraped after use to avoid it drying out and ruining the roller.
Pulling a print from the stone – Ink is rolled on to the damp stone, damp paper is placed on top, and once run through the direct transfer press the paper is pulled from the stone to reveal the printed image.
My first run of lithographs! I was really happy with how they turned out – especially seeing as they were only a test.
So amazed by the fine detail – something unobtainable with any other print technique. The key is processing the stone so that all the subtleties of the drawing are retained.
Morris under his favourite lamp.