Just picked up my 1st edition. I’m posting up all 8 of the prints I collected today so you can see the variation print-to-print. I’m bloody knackered. Spent all day today at the print studio editioning the next plate. I’d forgotten how tiring it is to be stood up all day. Didn’t go so well print-wise which is a bit annoying. It takes ages to work up the plate for each print and so much can wrong at any stage. I’m sure its just practise, but its so gutting seeing the prints turn out bad after spending so long inking and working the plate. Heh ho, its all part of the game…
Its difficult to see the difference because of the slightly shonky photography, but if you look at the areas such as the legs at the bottom of the plate or the black around the face you can see the variation. Click the thumbs below for larger images
Had my first full day down at Spike Print today, its great to finally start editioning prints after all the testing. I thought it’d be fun to post up the technique I am developing to render my Dry Point Etchings from Life Class. I’m determined to come up with something that no-one else is doing at the moment so I’ve been experimenting a lot with this method. Each print is individually hand-worked using the Artist Proof as a guide, so there is some variation from print to print. It takes a good half an hour from start to finish so its doubly gutting if it fails. By all means post comments if you have any questions about what I’m doing and I’ll be happy to answer.
Step 1: Warm the dry point etching on a hot plate. This heats the metal so that the printing ink becomes more viscous when it is applied and seeps in the marks more easily.
Step 2: Ink the plate evenly from all directions using a scrap of mount board until the entire surface is covered with flat even tone.