4 May 2007


Spent some more time in the print lab experimenting this afternoon, and i think i got a good result. Unfortunately I wasn't able to print it but I can feel quite a bite in the plate, so I'm very excited!
Can't explain the feeling, I guess i can't count my chickens yet but I feel like I'm onto something here with this technique. If it does work then it opens up the flood gates that connect the digital area and printmaking.

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Here's a scan of the etched plate. I've been stroking it in a Golem like fashion muttering my precious...

Update: Got some further information from printmaker Ad Stijnman:

"The toner is just a mixture of finely powdered resin and carbonblack. The
resin acts the same as the resin in aquatint.

There are three ways of transfering the design from a photocopy onto a
plate or stone: by heat (as you did), by soaking with solvent (Charles
uses d-limone), by offset, by shellac. The third one is a lithographic
like proces. Dampen your photocopy with sponge and water, carefully apply
a thin layer of gum arabic, ink up with a roller, lay the inked sheet on
your plate, cover and run through the press, let the ink dry, etch. For
the fourth one cover your etching plate with a thin layer of clear shellac
solution, when still sticky place the photocopy on the shellac, use a
roller and roll the paper on the plate from one side to the other (no
chance for corrections), let dry, soak in cold water to let the paper come
loose and only the toner is left (takes some rubbing), dissolve the toner
by carefully rubbing with cotton swabs and a drop of white gasoline (the
d-limone will probably work, too), which is a tedious job, etch."

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