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Published: 2012-04-05 05:49:07 +0000 UTC; Views: 339; Favourites: 6; Downloads: 6
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Description
Line etch on copper, printed on Sommerset with vine black ink, 5"X7" approx. Sloth Skeleton (my art school's mascot is a sloth)Related content
Comments: 12
Thank you! You should link me your sloth skeleton
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Oh, of course! [link]
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boy, this takes me back.. great job wiping the plate, first off- was this your first etching project? I bet not- very good control of line width in any case. And this is really nit-picking- but I've always preferred tearing hand-made paper to cutting- retains something like the deckled edge , just as you've done here. one Query: do they really have that many ribs?
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This was my first etching but not my first printmaking experience. I hand tear all my paper but I lost a little of that look in my photo editing. Yeah they do seem to have a lot of ribs but with the angle of the pose the ribs from the off side can also be seen so it's a little deceiving 
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Really great. I got stuck on wood engraving and never progressed beyond dry point in copper based prints. Ever tried lithograph on stone? We didn't have the press for it when I was in Art College, and I've always regretted it.
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I'm working on my first Lithostone right now. We have a lot of presses at my school and just got a huge off-set press for Litho put in last week. My school has a pretty decent print facility and some really great teachers. The only thing we're not really set up for is photo gravure but the students have been improvising for it anyhow. I really love woodcut, it's very meditative for me and something I can take anywhere; they can even be hand printed instead of having to use a press. When I go back home I'm going to build a press for intaglio though; I figure with the machine shop I have access to and my dad's mastery for guidance I can build one similar to what Ray Trayles was building (I don't know if you're even familiar with that name but he was custom building presses here in the US that are fairly sought after these days).
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That sounds great!Color me green (envy) . Printmaking has always facinated me from the technical standpoint- I really like the way the Japanese do woodcuts, for instance, printing by hand ( we used the back of a wooden spoon ) ever try wood engraving a la Dore'? (tho he didn't cut his own blocks , how effite is that?) There is a kind of litho press that's easier to build-there's a picture of it on You tube ([link] )- unfortuntely they don't show it in operation, exactly. The original used a helical screw ( like a vice has) to draw a leather faced scraper over a greased metal sheet,which does work, I built one once. There's a design for an intaglio press also-[link] luck, as if you needed it - what a school!
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wow I've never seen one like that Senefelder! That's pretty cool! All of our litho presses are steel bed presses. We already had two of those before we brought in that huge Maylander offset press- it looks like a tanker! Then we have two of Ray Trayle's presses [link] and I think we have two letterpress and one more little press that I'm not sure what it's called but I've used it for woodcuts, especially when I had multiple blocks because it has a built in registration system. Oh and one other intaglio press. We use the Trayle presses for both intaglio and woodcut.
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that Trayle press is a beauty! and you've done multiple woodblock prints- how many colours,I wonder? A built in registration system sounds really handy- does it depend on a standard sheet size or use corner pins like the japanese? Have you ever heard of a printing orocess that uses molten carborundum built up with the aid of a blowtorch into relief textures on a steel plate- it's relief printed using really thick hand-made paper [link] (that's the only clip I could find - I think they do it large scale in Paris, and of course with a blowtorch. Must be hard to keep the paper from fissuring.
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oh I did one with 4 colours. I would photograph it and post it but all of them are being stored at my parent's place back in Montana. That particular press has corner pins that you can move around to fit your project. I hadn't heard of that process before but I've seen something kind of similar. I think the paper doesn't fissure because it's probably soaked beforehand like in intaglio and with it being so thick and hand-made it gives and stretches instead of breaking the fibers. Plus, as long as the edges are rounded the paper will usually stretch instead of breaking (hence beveling the edges on a copper plate). I'm not an expert on papers though haha. I seem to remember that being the big concern when I did a printmaking thing in highschool, I can't remember what it is called but it is similar to the carborundum one only it takes found objects and glues them down to a plate but if the objects are sharp or too thick they tear the paper when you put them through the press
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that was what I figured. The description I read of the process mentioned striving for greater texture to deepen the colour , rather than too much height. But working with a spatula and a blowtorch? And how in the world do you ink the thing? I like the way Japanese artists paint a graded wash in opaque ink/paint on their wood cuts, which must take terrific control to get any kind of consistency in a long pring run.
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