Sharpie Marker Lithography Color Flats
Matthew Rangel showed us how to do lithography using a Sharpie marker (new makers are best), drawing directly on an old stone. The stone still has gum arabic in it; it hasn't been ground yet. Apparently the Sharpie holds the ink (while repealing the water). This is a quick way of adding several colors to lithography prints.
Blow drying before printing
(not with heat gun)
sets the stone
Marie Lee has taught at Pima Community College in Tucson, and is also in the YayBig Southwest collection, as well as in the YayBig Print Exchange. She showed us how to layer thin paper pieces on top of each other, to leave variations in the print. The paper with thin relief, goes between the press and the inked plate. That assures different pressures on the paper, while it goes through the press.
The string on paper obviously has slight relief,
and was used to create the red string print (at right)
Anna Aragon
Solar Plate
Anna Aragon, who went to Highlands University, showed us how to do solar plates.
Exposing the solar plate indoors,
with a halogen lamp
Intaglio inking
Drawing directly with a Sharpie
on the solar plate,
before exposure
Print next to etched solar plate
Shasta Blackford is studying at Tamarind Institute in Albuquerque to be a master lithographer. She showed us how to make transfer paper, using gum arabic (with a bit of glycerin). One can then draw on the transfer paper directly, with litho crayons and/or Sharpies.
Layer Cake
At the end of the day, Todd Christensen invited everyone to print on his previously printed prints, to make new artworks. Prints make by printing a disparate relief block on paper that already has a print on it.
See also related posts:
- Print, Printed, Printing IV
- Print Demos at Highlands University -- second day
- Highlands University Exhibitions
Ren Adams has a blog post about the previous mini-print conference -- Print, Printed, Printmaking III
