Library Cat 4×4 Silk Aquatint on Revere paper
Available on Etsy.
This is a double-post of sorts; an update on yesterday’s aquatint, after I made adjustments to the plate, and a new aquatint (above), printed in the same afternoon. Process shots start at the bottom of this post.
Pulling the first proof of Library Cat, in graphite colored ink. The next print was done with a 50/50 mix of lamp black and transparent base, for increased contrast. (But I think the proof I pulled with the graphite is going to be perfect & fun for colored pencil…. rubbing hands and grinning madly)
Using Akua tarlatan to wipe the plate.
Using scrap mat board to move ink over the surface of the plate, being sure to get even distribution into the weave of the silk.
Getting ready to ink the plate for a proof print, using a 50/50 mix of Akua Intaglio Graphite and Transparent Base.
An Affinity for Palm Trees 4×4 Silk Aquatint on Revere paper
This is a follow up from yesterday’s post. When I pulled the first proof print from the plate on this piece, there was too much tone/ink in areas meant to be halftone or a bit brighter, so I went back and added more acrylic to the plate, and tried again.
Pulling the print; I got a bit closer to the values I was looking for, but I’ve got a lot more experimenting to do with some different fabrics, and a variety of ratios on the acrylic as well as the inking process. Still, though, I have to say that the ability to be able to get any halftone, without the use of etching acid, solvents and metal plates has me doing cartwheels in the studio. Stay tuned!
When sketching from nature – pencil water color, or oil – carry in your kit a little view-finder of cardboard to help in selecting well-composed bits of landscape. It is easily made, consisting of but a frame of cardboard with the opening a rectangle of the same proportions as the larger rectangular shape of your canvas or sketch book page. The cardboard should be of a dark tint or blackened with drawing ink. Hold this little frame between the eye and the contemplated view, and move it along until it encompasses a section of the landscape to your liking. Many unexpected pictorial effects are found by the aid of this little contrivance.
~Practical Drawing, by Edwin George Lutz 1919