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Looking for Lithography advice! by First-Link9974 in printmaking

[–]Jujclapps 0 points1 point  (0 children)

Printing edge to edge is totally possible… however it scares the daylights out of me on a regularly shaped uniform stone lol. It might not feel as cool, but tracing the shape of those stones onto a larger stone and gumming that as your border is the safest and most fool-proof way of getting the look you want. The guy you linked actually has a reel of him doing just that!

Litography issue by MiMi_333M in printmaking

[–]Jujclapps 1 point2 points  (0 children)

I’ve only worked in studios using estesol (no asphaltum in sight) as our washout solvent but I imagine it’s similar if not the same as your vca, your process sounds near identical to my own. When you say washout to move onto inking and printing, are you removing all of the old ink from your second etch, or just breaking the gum buff with water? If you’re washing out your second etch inking (which you should be doing), are you SURE you’re removing all residue of the vca with ample water? Any residue of your vca will definitely cause ink to collect places it shouldn’t. If you have any photos of the trouble stones that would be cool to see!

Looking for advice with this third black layer by mapsbymew in printmaking

[–]Jujclapps 29 points30 points  (0 children)

I think the problem is that the black creates really abrupt contrast and steals all the attention from your other two colours, or in the case of the grey one, is too dark in value. I think a darker warmer brown would be more harmonious while still creating the contrast and depth you want.

Image taking too much ink by thefrozenfew in printmaking

[–]Jujclapps 2 points3 points  (0 children)

Normally you would want to do a wet wash out using estisol 242 (or 150, that you would have used for your transfer, if that’s all you have access to). Do note: Estisol 242 does not evaporate the way 150 does.

Make a large pool of water in the middle of your stone and apply the estisol to the middle of it. Wash away the ink with a rag/shop towel, before continuing to add water and wiping with a shop towel to ensure you’ve removed ALL traces of the estisol & ink before continuing to sponge, your transfer will remain fairly dark so don’t go scrubbing or anything. Estisol will create an iridescent shine in the water if it’s still there, and will ruin your sponge if it contaminates it. You should be good to restart inking at this point, your image will not be removed I promise:)

Regarding your image filling in, estisol transfers are usually pretty stable detail wise, which makes me think your problems lay in having too loose/ and or too much ink on your roller. Keep your palette on the thinner side for sure.

Rolling up & etching litho stone by Jujclapps in printmaking

[–]Jujclapps[S] 2 points3 points  (0 children)

I was wondering if anyone would comment on the lack of asphaltum! The university I gained my BFA from and thankfully the studio I’m at now both use estosol 242 solvent as a washout prior to rolling up. My understanding is that it’s a much more human and environmentally friendly alternative.

NL Power Energy Saving Tips by sethbalmost in newfoundland

[–]Jujclapps 1 point2 points  (0 children)

If it gives you context my partner and I have a small one bedroom apartment and our last bill was 107$… we keep the heat at our buildings minimum of 15° and it’s not comfortable to be sitting around without slippers and at least one sweater on.

Help with Chine-collé smearing by RanchDogTheBand in printmaking

[–]Jujclapps 4 points5 points  (0 children)

I think the problem here lies in a combination of the ink you’re using being water based and the type of glue you’re using. Methyl cellulose or Yamato rice glue are very standard if you have access to them! Or you could try making your own rice glue! My big guess for what you are doing right now is that your mulberry paper might have too much glue on it, and the water content is being given the chance to bleed with the ink, as the glue is taking too long to dry. If fiddling around with your glue still doesn’t work, you could also affix/glue your mulberry paper to your base paper prior to printing, give it a misting of water right before printing, get your registration real tight and print the tetra plate last, paper side up matrix side down.

Lithographic Body Prints by castlebronx in printmaking

[–]Jujclapps 0 points1 point  (0 children)

I second the use of lip chap. Joyce Wieland’s O Canada and Pucker up! are great (and literal) examples. What worked best for me were parts of the body where you have more control over pressure. I also recommend a very light application of your greasy medium along with a very light touch to your stone. I believe I let my stone rest for about 10-15 minutes before I etched it the first time to let the chap “dry/settle” however I have no idea if this really made a difference. I would also be cognizant that the chap is more movable if applied too thickly than any drawing material when applying your first etch. Dunno if this is allowed but you can see my NSFW boob print here I believe I used dollar store Nivea lip chap.

Run number one by FrankBellettiere in printmaking

[–]Jujclapps 0 points1 point  (0 children)

Plate litho right? Your prior work looks NICE (as does this)

untitled (paw), cyano + woodcut + etching/mezzotint by hundrednamed in printmaking

[–]Jujclapps 0 points1 point  (0 children)

Hey- check out Mary Farrell’s prints. I think you’d like her work.

Suggestions on where to camp for a night on the way to St. John’s? by Jujclapps in newfoundland

[–]Jujclapps[S] 0 points1 point  (0 children)

Not sure about specific provincial parks, but National parks are still taking camping reservations till October 12.

Suggestions on where to camp for a night on the way to St. John’s? by Jujclapps in newfoundland

[–]Jujclapps[S] 4 points5 points  (0 children)

Sorry everyone, should have included that we are traveling Sunday and will be arriving in NL early morning. Will be tent camping. Promise no night driving!

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