Over the past few months filmmaker Bill Newsinger has been in and around Leicester Print Workshop, filming and documenting the lithography process. This film is the end result.
Working with Bill has been a pleasure – a funny, strange and intriguing process, with his endless enthusiasm for the subject matter always shining through.
From the start we both seemed to have a similar vision of how we wanted the film to come across, and I’m so pleased with the end result. The film portrays the lithography process exactly how I see it, and will hopefully help those who watch it to understand exactly what the process involves, and why I love it.
Big thanks to Bill for having the idea in the first place and being so cool to work with, to Leicester Print Workshop for being so accommodating and encouraging the collaboration, to West Yorkshire Print Workshop for allowing me the opportunity to take up the internship, and to Serena Smith for teaching me everything I was doing in the film!
I’ve been a bit quiet on the blogging front recently, so to make up for that I’m planning on doing a good few posts over the next few weeks to try to catch up a bit!
This post documents my first go at colour printing from a stone:
- The first thing to say is that printing in colour is so different from printing in black and white. Each ink acts very differently, some being very runny and needing to be stiffened before use, others being so highly pigmented that lots of extender is needed to tame it a bit.
- Another thing I learned is that you very rarely use opaque white when printing in colour. It tends to dull colours down and decrease their vibrancy. Instead, the coloured ink is made more or less transparent using extender, making use of the natural luminosity of the paper being printed on.
- Paper stretch is a major factor when printing in colour and in register. This is especially noticeable when using damped paper to print onto. As such, dry paper is usually used. However this tends to result in not as much detail being picked up from the stone as when printing in black and white.
- In this case, I made a test stone by first applying gum arabic to the stone to mark it out in sections – wherever the gum was applied would not take the drawing. I then used a variety of different drawing materials to fill in each square, including hard and soft litho crayon, turps tusche (grease suspended in turps), water tusche (grease suspended in water), liquid litho ink, and techniques such as scratching into the gummed stone and rubbing turpsy black ink into the scratched areas.
- I then processed the stone and printed the first colour. It is important at this stage to ensure that each print you take is registered well. This is usually done using the pin registration technique, which I’ll do a separate post on in due course.
- I then re-worked the stone, using soap wash, pumice and scratching back, and printed the stone again in a different colour on top of the first print.
- When printing multiple stones in colour, you inevitably get colours mixing, and this is a very exciting part of stone lithography. It’s going to take a lot of practice to be able to accurately predict what the resulting colour will be when one is layed on top of another.
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!).
Week two learning lithography – Photo-litho test plates and drawing onto my first stone. And a cat called Morris who likes to sit in the kitchen sink.Posted: January 18, 2013
A test plate exposed to an ink wash on drafting film for varying amounts of time, ranging from 9 – 18 light units. Very much like photo-etching in that the longer you expose the plate, the lighter the image becomes. But SO much more detail than photo-etching, and no need for aquatint or halftones as these plates produce continuous tone because of the way they are printed.
Resulting prints from the test plate. Due to the nature of the printing process, more detail is revealed from the plate the more prints are taken – showing here the first print taken above, and the 9th print taken below.
My first drawing onto stone, experimenting with dry drawing materials such as litho pencils and crayons and rubbing block to create subtle tones. We also put a first gum etch onto this stone, so it will ready for it’s second gum etch next week.
So I’ve got a bit of news – in January 2013 I’m going to be starting an Internship at Leicester Print Workshop in Stone Lithography! It’s one of the only printmaking processes I’ve never had a go at before, and I’m really excited because it’s one which relates the most, in my mind, to drawing. One of the things which made me apply for it was doing a print swap recently with artist Lisa Hecht. I sent her one of my artists’ books – ‘Corners’, in return for her beautiful lithograph ‘Blue Damask Bed’, (above – sorry for the not-great photo). I think it’s actually a photo-lithograph, but it was the quality of the print which captured my attention – the way the ink sits on the paper is different to any other printmaking process, and the layering and colour really inspired me.
Over the past few days, as the news has had a chance to sink in, and as I’ve been in the process of editioning my print for this year’s 20:20 print exchange, I’ve been thinking about my last blog post, and what I said about choice of technique to suit the idea being a large factor in the success of a print. I still think this is very important, however, there is something to be said for working within the boundaries and constraints which a particular technique provides, whether it be drawing onto stone, carving into wood or lino, or etching a metal plate. This seemed particularly relevant as the print I was editioning was a very small, simple hard-ground etching which I made a while ago, as a tester for a series of small etchings of items of household fixtures and fittings. The drawing sits just within the boundaries of the metal plate, confined, almost restrained by it. But there is a certain domestic comfort in that.
It might be that an artist chooses a particular technique for the very reason that they want to be constrained – they want the process to determine the outcome of the work, to take them on a journey. The outcome may not be one which is expected or anticipated, but that’s what makes it so exciting! Printmaking for me is a constant process of inquiry, discovery and repetition, and the more I learn about it, the more ideas for new work I get, so I’m proper chuffed to have this opportunity to develop my skills further!
I’ll be posting regular updates on here from January detailing the progress of the internship, so keep checking back!