Just thought I’d try to reprint a section of a larger lino plate that I cut a year ago.
I need an image for a gift card and I was wanting to work in my newly rearranged studio, so I am pleased with how smoothly the new set-up functions.
I am still experimenting with waterless litho. It’s a process that was invented by Nik Semenoff, in Canada. I am only in Mexico for a short while, so that I can’t quite manage an edition, but I always learn a phenomenal amount of printmaking techniques. Enough to get the creative juices flowing, but the last time I tried the process, the chemicals in Canada were too different than those I used in Mexico.
I am hoping for some success once I get back to Canada.
We’ve recently returned from India, and while we were there I had our tour guide’s friend bargain for some antique wooden ajrakh blocks. I had a small collection of blocks prior to our holiday, but these ones are beautiful and intricate.
I started printing the minute I came home. In the end, I ended up with a very large tablecloth and a light summer top. Love them both.
And…. there will be more to come.
I finally finished my yukata. I used hand-rolled silk scarves from Maiwa.com. The silk scarves that I eco-dyed with plants from my yard were mordanted in alum first and them steamed with the leaves wrapped inside.
I hand-sewed the scarves together into a simple style, but once it was pieced together, the colours just didn’t suit me.
So today, it was a beautiful, cool autumn day, and I started up the indigo vat.
One 10 minute mash-up in the vat and the yukata came out a perfect shade of blue.
I did lose the burgundy colour, but the resulting yukata suits my colouring so much better than the grey and beige. I will now wear it, after an enormous amount of time and effort. Happy. Happy.
My fav neighbourhood teen asked for some help with making her boyfriend a lap quilt. Here she is, happy as can be, with her very accomplished piece. She was super careful and calm.
Admittedly she enjoyed the designing the most, but she made French seams on the inside and aligned the plaid perfectly. And she dropped sewing 8! A travesty! ( and the boyfriend loved it).
After finishing my inspiring course from Maiwa( an earthy, eclectic company that sells supplies to fabric artists), I took up the challenge at home.
I boiled and scoured some fabric with synthrapol soap.
I carved a bird image into a piece of easy cut rubber.
After two hours of washing and drying the fabric, neither piece of the material took the Seta opaque ink very well.
After inking up the rubber image again, I finally tried a washed piece of silk, which worked perfectly. I deduced that the flatter and smoother the fabric, the better the result.
The ink must be heat set, either with a commercial clothes dryer or a hot, dry iron.
I had wanted to finish with bias piping but I ran out of time. I will make a better effort in all aspects next time. This was more of an experiment, but a pretty one.
I made a few aprons, all cut from linen. I traced around an old apron to make a pattern for the body. The pockets are made from the cutout of the armhole section. The straps can be from any light/ medium weight fabric.
This apron is for a small to medium size. Finished, it measures 27″ long and 27″wide.
The indigo ones were made by accordion folding my white linen apron width-wise, and then folding the accordion into equilateral triangles. This jack-in-the -box was then stitched and then dipped and dyed in my indigo vat 8 times.
Pressed and ironed and voila. Happy!
I experimented with a lithography print process called Mokulito. I have not pursued it yet, as I need several wood substrates to continue, and this method seems to have a limit to the number of good prints in the edition. Lots of info on the net. Ewa Budka has resurrected this litho method from its inventor, Seishi Ozaku. Ewa holds seminars worldwide.
The image is drawn on a densely grained, smooth plywood(maple)with a multitude of drawing utensils….Grease pencils, tusche, sharpies, crayons, litho ink, and litho crayons. (oil based). Do not touch the wood as your hands can leave oily marks.
The image is dried slightly with a dusting of talc, soaked with Gum arabica , and rested (at least a day) before it is rolled with ink. Wash the arabica off with cold water. I used the water and oil based inks and etching inks and a soft sponge brayer for the samples above. Ewa suggests litho inks, slightly runny.
The litho ink does not adhere to the wet wood, because the surface is continually soaked in water while printing and inking, so the oily sketched drawing absorbs the oily inks and the wet wood repels the inks. What results is that the arabica pushes the grease into the wood, and leaves an etched surface where the drawing sort of sticks to the rolled ink.
The inked board is rolled in a litho press. The paper lifts the ink to become a print.
The etched surface holds the ink, although over time the wood starts to show the grain up in the print. It’s up to the printer to decide when the plate is exhausted or too fuzzy to lift a good print.
I am in love with lithographs, but not all the hard work needed to produce one. Internet surfing always brings something new to the table. This time, I started reading about a lithography printing process that does not use the traditional stone. If you’ve ever tried it, you’ll know why it isn’t for every printmaker. The stone grinding is tedious and back breaking.
A Canadian Art prof, Nik Semenoff, invented and experimented with a way that creates a litho without so much waste or toxins, and he replaced the stone plate with an aluminum plate. If you want more info, just google his name. He and his sites are a wealth of knowledge. I feel like I know a celebrity when I check with him about processes. Love him.
I am in the process of learning more about his technique, and then I will hopefully present it to some art teachers here.
I have lots of notes and little sample lithos if you are interested in learning more. Just drop me a line.