Carborundum Experimentation

I tried a few carborundum plates here this weekend. Notes:

• Plate material: The 2mm thick clear plastic sheet worked well. Scrubbing with kitchen cleanser gave it good tooth, so the glue had a good surface with which to bond. I also wiped it with rubbing alcohol before I put down the glue lines. And since these plates were transparent, I traced drawings from my sketchbooks! (The lady below was on a plastic plate. Overall dimensions of the print are 7-1/2" x 11". She is one of the faces in this composite.)
  
  Regular drafting mylar worked well too, except the large carborundum areas cracked and started to peel up after a few pulls, and had to be re-glued. I believe that the mylar can be a bit too flexible for this process. But with care it can work just fine too. (The peaked hat gent above was on the mylar plate. Overall dimensions of this print are about 5" x 7".)
  

• Glue: I used Titebond "Original Wood Glue" full strength, laid down with a bamboo pen. It worked very well.
  
  I made one plate with glue diluted with a bit of water, in an attempt to get finer lines, but this mix didn't stick to the plate at all. Lesson: Don't dilute!
  

• Carborundum: I used the #180 size grit. I let the glue/carborundum areas dry overnight.
  

• Sealing: The next day I used the spray can version of Polycrylic Protective Finish Clear Satin, by Minwax to seal the carborundum on the plate. And I believe that I put too much on. The carborundum lost some "tooth". The carborundum areas didn't feel at all vulnerable -- stuff was not coming off -- before that seal coat and I think just a very thin coat of this would serve fine.

• Ink: I tried DSmith Water Soluble Relief Ink, Faust Aqualine Ink, and Akua Intaglio Ink and I like the last the best.
  
  
• Paper: The paper was Rives BFK Heavyweight Paper in the color 'Tan', which I don't particularly like, but what the heck. These were experiments! I think that regular weight paper would have taken the embossing better and I will try that next time.
  
  
• Press: I used the little Blick Econo Etch Model II, cranked down pretty tightly.
  
  

Carborundum Printmaking

I took a Collagraph/Carborundum Printing workshop at Pyramid Atlantic this past weekend, from Charles Cohan, and enjoyed it very much. I also learned a great deal about the processes that are involved. I made this print from a sketch of an old Jowly Gent that I made on the Metro. It was blown up, transfered to a screen and then the screen was used to print wood glue on a Masonite board. The wet glue was sprinkled with carborundum and left to set up a moment. The excess was tapped off and the plate dried overnight. Once sealed, it was inked, wiped and printed intaglio style on an etching press on dampened paper. It was great fun and I really like the fuzzy edges. (It reminded me of the line in Max's Monoprint.)

Each print above is on 11" x 15" paper. The one on the left is the first pull. The one on the right is the ghost. The ghost is printed without re-inking. It uses just what ink is left on the plate from the first printing. I like them both!

I also had a fine time rummaging around in the drawers full of handmade paper that is for sale at Pyramid Atlantic. They have a thriving papermaking program there and some of the paper was lovely. I plan on printing on it this weekend in my Lino Class at the Art League.