From case to composing stick.
What is the type face?
And now to the pressbed.
Add ink!
Drying.
More to come!
Season’s Greetings 2017
This years greetings are somehow different from the other years: smaller in size, printed on my Adana 5×8.
Have a look at this lovely lady from Japan operating the press (no the same model, but same principle of operation).
The chase for the woodengraving:
2 trees (old and new joining)
For 2017 we wish you 365 days of Happiness and Health.
The font used is Trajanus designed by Chappall (see also Trajan) .
Inspired by Peter Freeth
The result first!
The original photo:
Inspired by an article on Peter Freeth in Anthony Dyson, Printmaker’ Secrets, A&C Black Publishers, London, 2009 (an excerpt from the book over here) I got the idea to start not with a monotype as does Peter Freeth, but to do a litho first, transfer this to the intaglio plate and from there on follow Peter Freeth.
First step transform the colour photograph to a monochrome picture. This picture was laser printed directly on a polyester litho plate. As the edition would be only one print, I tried first to do a paper lithograph, but without any success (crumbling, crumbling and more crumbling), so I changed to polyester plate. But instead of printing it on paper I printed on the zinc plate chosen for the intaglio. The ink still wet the plate was powdered with rosin in a first step, superfluous rosin removed by gentle tapping the back of the plate and than recovered by an “even” (as far as it is possible for a hand shaken aquatint) layer of rosin in order to step from a negative print with open bytes to a positive without open byte. Followed by an etching in nitric acid (10%) for 5 minutes. The ink used for printing was 1/2 Charbonnel black 55981 1/2 Chabonnel black RSR and the paper Lanaquarelle Watercolor HP 300g/m2.
A first try with many flaws . To be continued. Lot of experimentation possible.
Summery of the steps:
La prière du chat
La prière du chat.
Letterpress: Optima 20P
Woodengraving
Brause / Kalligrafie-Block (DIN A4)
edition: 14
Shutter stoppers further testing
Same negative, Jill Enfield’s sensitizer formula1 and Henry Hall’s sodium acetate developer (cf. Christopher James, The Book of Alternative Photographic Processes, 2nd ed., Delmar, Clifton Park, USA, 2009)
The first photo is on Fabriano artistico HP, the second on Arches aquarelle HP.
Changes in contrast and changes in colour.
Shutter stoppers continued
This is a kallitype from the same negative.
Jill Enfield’s sensitizer formula1 ( Jill Enfield’s Guide to Photographic Alternative Processes, Focal Press, New York, USA, 2014) and sepia developer. Paper is Fabriano artistico HP.
Shutter stoppers (Hinnesche)
positive cyanotype brownprint
negative cyanotype brownprint
Digital photos to this series on photodiary.
Guy Meder: “Wann d’Hinnesche de Kapp hänke loossen, sinn d’Lueden zou.”
Still untiteled – not yet finished
Nude.
Drypoint on aluminium. Spot etching with a mixture of ferric chloride and sodium chloride.
Scratches and imperfections visible as I only degreased the plate and wanted to keep the existent marks of the plate. Added some more scratches.
Normal inking with sanguine and partial inking “à la poupée” with sepia ink.
The bankers
Etching and aquatint on zinc. Hand addition of bluish grey Indian ink.
(Done in part at last summer workshop with André.)
Final.
Wanting to stick to my usual theme for my cards, I decided to start from a photo I took some years ago (still film photography and darkroom labour). As time was running short the matrix had to be a photopolymer plate.
Waiting to dry.
For the inside I choose as font Walbaum kursiv 20Pt.
Carlo Krier 