Yoshiko Shimano showed us how to do wood lithography on a etching press. This technique was developed in Japan. One has to coat the wood first with casein; then he has to draw the image with a Solid Marker. Then he applies gum arabic on the whole surface. One can even carve into the wood, combining relief and intaglio printmaking techniques under one roll of the press.
to be applied to the wood panel
also used a Japanese water color technique
as an alternative way to ink the board
what you might do with prints
Cerese Vaden showed us how to make paper portfolio holders, and other amazing complicated tricks for print presentation and storage.
Intaglio Crayon Lift Ground
Mark Ritchie showed us how to draw on a copper etching plate, with water soluble Korn's litho crayons, to make an etching. If one is going to make thick lines, he must aqua-tint the plate first. The grounds are then applied on top of the drawn image, and placed in water (?) like a sugar-lift.
Plate with drawing on it
Viscosity Intaglio and Monotype
Scott Frish showed us how to make multi-colored monoprints, under one roll of the press. The trick is to apply layers of ink, from stiffer to looser viscosity. Moreover, the first rolled ink, is the stiffest, using a softer roller. The subsequent ink is looser, with a harder roller. The key is "loose over stiff."
Note bag of Magnesium Carbonate in foreground,
to make ink stiffer
See also related posts:
- Print, Printed, Printing IV
- Print Demos at Highlands University -- first day
- Highlands University Exhibitions
Ren Adams has a blog post about the previous mini-print conference -- Print, Printed, Printmaking III