I am preparing four prints for the Sydney Contemporary - each requiring an etching and some letterpress type. To help make them all look and feel as if they are related, I am placing the etchings into the same place amongst the type each time, keeping the same shape.
Each print has a different etched image, and uses a diffenret typeface, so I am printing the etchings first, and then setting up the type in the letterpress.
Having completed the first print, it was time to change the type in preparation for the second. Because I really want to keep it simple and try to make it easier for me to register the two prints (avoiding overlaps or gaps or skew-iffedenss) I left the chase pretty much locked up and tried to simply replace the type line by line.
It was slow and steady, but little by little I got there.
I quite enjoyed the changeover process.
And today I printed the type around the etching.
As ever, when I finished (it was only a run of 15) there was still plenty of ink on the plate and rather than waste it, I decided to test the letterpress on a range of papers.
I tired tracing paper, goyu paper, brown or kraft paper, and really lightweight Japanese tissue; as well as onto some scraps of braille paper and others where I had cleaned my rollers off a while ago.
Fascinating results, and definitely positive reinforcement about keeping those bits of paper where I clean my rollers and do other crazy tests; the letterpress can look great on them.
Each print has a different etched image, and uses a diffenret typeface, so I am printing the etchings first, and then setting up the type in the letterpress.
Having completed the first print, it was time to change the type in preparation for the second. Because I really want to keep it simple and try to make it easier for me to register the two prints (avoiding overlaps or gaps or skew-iffedenss) I left the chase pretty much locked up and tried to simply replace the type line by line.
It was slow and steady, but little by little I got there.
I quite enjoyed the changeover process.
And today I printed the type around the etching.
As ever, when I finished (it was only a run of 15) there was still plenty of ink on the plate and rather than waste it, I decided to test the letterpress on a range of papers.
I tired tracing paper, goyu paper, brown or kraft paper, and really lightweight Japanese tissue; as well as onto some scraps of braille paper and others where I had cleaned my rollers off a while ago.
Fascinating results, and definitely positive reinforcement about keeping those bits of paper where I clean my rollers and do other crazy tests; the letterpress can look great on them.
lovely letterpress!!
ReplyDeleteLetterpress - always lovely!!
DeleteEvery time you use that braille paper I get serious envy syndrome. It always sets me off on another search for some! Anyway, I love the experimentation as always. If it copes with tissue paper will the letterpress also work on thin fabrics like organza?
ReplyDeleteThanks Lesley - I do think it might; I am hoping to start printing on fabric soon - heavy aprons as well as light organzas...stay tuned!
DeleteLove the braille paper over print! and the last one is very poignant because the marks almost read as nails.
ReplyDeleteSandy in the UK
Yes Sandy, I do think the braille paper offers so much. I hadn't seen the nails until you pointed them out and now I can't not see them - fascinating and powerful.
Delete