Printmaking -- Slashing the cleaning time.

As simple as this may sound, the solution is newspaper!  Before you start setting out your inks and tools grab some newspaper and lay it out over your workbench.
While the inks will still need to be mixed on glass, it will save you the hassle of constantly trying to keep your workspace tidy and will make it easier for you to keep the back of the plate clean. (This can be a particular problem when inking up Drypoint plates).
It also means that whenever the newspaper begins to resemble Jackson Pollock's studio floor, all you need to do is turn over the page and you instantly have a clean workspace again :)
   While you'll still need to clean your tools and the area of glass used to mix the inks on, using newspaper will eliminate a large portion of the cleaning time :)

Atelier Interactive; Acrylic Mediums.

For a quick lowdown on ground preparation, mediums, additives and varnishes please check out my page 'Painting Mediums and Glossary', it can be found in the Tabs bar  :)
http://the-secrets-of-art.blogspot.com/p/splash-of-whimsy.html

Aluminium Etching

Little Tomo. . .

 

I've finally figured out why I love etching so much, its one of those things that I discovered by chance, and that comes as easily as breathing. While some people listen to music or go jogging to forget their problems, I escape in my art. Its almost like meditation, because I can block everything else out except the image before me, and by the end I feel completely revitalized. 

I guess that's what Pablo Picasso meant when he said, "Art washes away from the soul the dust of everyday life."

~ ~ ~ ~ ~

Ingredients for Copper Sulfate Etch :

(Remember to put on gloves, dust mask, and safety goggles when handling the crystals to avoid touching or inhaling dust particles).

• 600g  Copper Sulfate.
• 150g  Salt (NaCl).
• 156g  Sodium Bisulfate (NaHSO4).

• 200g Water

(the solution can be used multiple times, but will occasionally need more of the dried sulfate ingredients added to it as it becomes subtly weaker each time it's used. You can tell its time to add more when the liquid begins to loose its 'blueness' and the plates start taking longer to bite).

Lighter blue sulfate = Softer bite.

Darker blue sulfate (stronger solution) = Harder bite,  lines in plate will be more defined.
 

Method (Preparing the plate) :

1.  Identify which side of the plate you wish to use (usually the side with less scratches or markings, though these can sometimes add to the character of the print).
2. Degrease the plate. - -English Whiting Powder added to a dash of water (till you get a toothpaste consistency) and apply in a circular motion using cotton wool, rinse under tap using wool.Make sure you don't touch the surface of the plate once its been degreased. 
3. Dry plate using hairdryer.  
4. Prop the plate on a 45 degree angle and lightly apply Ground using a large brush. (Soft Ground - Texture  OR  Hard Ground - Line). Once evenly applied lay the plate on a flat surface and allow it to dry.  (Unfortunately the hairdryer doesn't help during this stage).
5.  Scratch image into the plate . . . Remember that the image will be reversed when printed.  (Ive also noticed that when lines are drawn too close together there is a risk of them merging completely when put in the copper sulfate. This creates a black splodge when printed . . .as shown below).

 First Test Plate, 2010. Stage 1. (top left corner). 

- Tip: Any unwanted splodges or blemishes can be disguised using Bitumen (as shown bellow in step 5-7, Biting the Plate).    

Method (Biting the Plate) :

1. Fold some tape in half and stick it onto the back of the plate so that it becomes a handle.
2. Place the plate, image side up, into the Sulfate, making sure that it is completely submerged, and the end of the tape from the back is sticking out of the Sulfate. 
   Allow the plate to bite for around 20-40 minutes. Every so often red 'fish eggs' will appear along the lines that you scratched into the plate. Personally, I like to remove the red bubbles by rinsing the plate over a bucket in the sink, before placing it back in the Sulfate.  
   Keep in mind that the time it takes to bite the plate will vary depending on the strength of the Copper Sulfate, how dark you wish the lines to be and how fine your line work is. (My work is usually comprised of delicate line work which is why I tend to keep my plate in the Copper Sulfate for closer 40 minutes to make sure that it is well and truly bitten).
3. Using Turps and an old rag outside, remove the ground from the plate so that it is completely clean.
4. There's nothing worse than cleaning the plate and realizing that the lines are only half visible. If this does happen don't worry, the bonus for using Aluminium is that it's a rather soft metal that can be reworked without the use of the sulphate.                                                                                                                                        Tip: Using an etching tool scratch over the lines which didn't form properly in the sulphate. It'll take a bit longer, but it's better than tossing the entire plate and starting over. The reworked lines can also appear more 'clean' than the sulphate etched lines, and if applied over areas with sulphate-etched lines it can add a new layer of depth to the work - you also don't have to worry about the lines being too close.
5. At this point you have the option to print the plate as it is, or to continue working the plate and add tone.   If you do intend to continue by adding tone its good to do a test print so that you get an idea of where that  tone would work best.
6. Using Bitumen, paint over the areas which you want to remain white. For a more gradual variation in tone you can also dab the plate using a stippled brush, making sure that some areas are left untouched by the Bitumen. 
7. Once the Bitumen is dry, place the plate in the Copper Sulfate for 2-4 minutes, rinsing the plate when necessary.  
   Tip: You can also get interesting lines and textures by using a paintbrush to remove the bubbles while the plate is still submerged in the Sulfate.
   
8. Dry the plate using a paper towel and repeat steps 5 and 6, but this time rather than painting the areas that you wish to be white, you paint over the areas that you want to be light gray. Continue until you have however many shades of gray that you want (depending on exposure time to the Sulfate, you can usually get around 4 different shades before it becomes too dark). This is also a good opportunity to disguise any blemishes on the plate . . . 

First Test Plate, 2010. Stage 2

Method (Printing) :

1. Create a registration sheet so that the plate and page line up perfectly when printing.
2. Put on gloves (Trust me, you'll need them).    
3. Soak paper in a sink or tray. (Heavy paper such as Stonehenge, Dutch Etch or Fabriano).
4. Prepare the ink. . . If your soft handed its best to use Graphic Chem. ink, don't worry about mixing it with anything.  Its also good to use if your in a hurry as it isn't too sticky.  Otherwise use Van Son mixed with Graphic Chem. Easy Wipe as it will give you a rich, inky black. Just make sure that you mix it vigorously first so that it's warmed up.
5. Using cut up cardboard spread the ink over the plate and into the grooves.
6. Take off excess ink with a new piece of cardboard before wiping the plate with a scrap of Talitin.
7. Using old phone book pages, gently rub the plate in circular motions - Don't apply too much pressure.
8. Clean the edges of plate with a rag.
9. Take of gloves (double check that your hands are clean because the paper will absorb any fingerprint and smudge).
10. Remove paper from the sink and blot dry between two clean towels. preferably white towels so any dirt or ink smudges are easily visible.
11. Place your plate over the registration on the press and carefully cover with the etching paper. (The water mark on the paper can sometimes add to the print).
12. Cover the etching paper with butchers paper and padded blankets before slowly putting it through the press (I like to put it through twice if there isn't a line behind me).
13. Gently wrap the print in tissue paper and place between two 'Canine Boards' so that the paper doesn't buckle when drying.
14. Remember to clean off any smudges that you may have left on the press so that you don't end up with random ink lines on any future prints.
15. Once you've finished you can clean your etching plate using ordinary cooking oil.

How to prepare a spent etching bath for recycling  

(keep in mind that the bath tray can be used multiple times):

1. Add hot water to the bath to re-dissolve any solid sulfate particles and stir.
2. Add a pile of metal off-cuts (Aluminium, zinc or steel) to the tray.
3. Leave to act overnight.
4. On the following day, drain off the liquid into a bucket and add sodium carbonate (about two or three cups per bucket).
5. Once fizzing stops the liquid can be discarded.
6. The remaining solids can now be left to dry out. Keep in labeled, sealed containers and then treat as dry waste.

Solarplates . . .

A Solarplate created from my drawing, "Kirli's tea party". . .

What is a 'Solarplate' you ask?
It's a light sensitized steel backed plate which is exposed to U.V light (the sun) and then developed with ordinary tap water.

Tip: It's great for reproducing photos, drawings and one off prints such as monoprints and monotypes :)


Method :

1.  Select an image, be it photograph, digital print or drawing, and photocopy it onto acetate.  [This can be done earlier using a photocopier at the local library,  just remember to ask someone  at the front desk to help change the settings to 'transparency'.]
2. Take the Solarplate out of the black sleeve (it's the golden side that will be exposed to the light). Sometimes there will be a thin transparent film over the surface of the plate to protect it from scratches, so its important to make sure that you peal the contact off first . . . I learnt that the hard way, and although the abstract blotches can give the image a cool liquefied/Sci-fi feel, unless your aiming for that affect its best to double check the plate for lamination first :)
3. Rub Talcum Powder over the surface of the plate and on the matte side of the photocopied image to  remove any moisture.
4. Place plate on foam and cover with sheet of acetate and then the glass. Clamp all 4 sides shut using bulldog clips.
5. Hug the image tightly so that no light can reach it as you walk outside.
6. Make sure you stand in direct sunlight, expose the plate on a 45 degree angle for 2 1/2 minutes.
   Cover image and take it back inside.
7. Take the plate out from between the glass and foam and remove acetate. Wash in a tray of water - rub surface evenly with a sponge for around 1 minute, or until you can see the image clearly.
8. Remove the plate from the water - Keep it horizontal so that the water doesn't drip off only one side.
9. DRY IMMEDIATELY!! - wipe once with a dry cloth and then blot with paper towels (The plate will by slightly sticky, so don't worry if the paper sticks to it a little when blotting).
10. Put dry plate in front of fan heater for 5 minutes.
11. Place plate in direct sunlight for around 2 hours, but I usually keep it there closer to 3, just to be safe :)

Ink :
-When printing Solarplates its best not to used water based inks, I prefer using Van Son ink which is rubber based and mixing it with a touch of Easy Wipe to make it more manageable.


Paper :
-Enjoy experimenting with different papers!  While heavier paper such as Fabriano and Stonehenge are traditionally used, I've discovered that thinner paper such as Ho-Sho works quite nicely as well :)
Whichever paper you decide to use, make sure that you soak it well in a tray of water first and dab dry between two towels so that it absorbs the ink more.


~Have fun :)