Archive | 18:37

For Printmaking Geeks

11 Apr


I’m working in a new country in a new print workshop in Rawalpindi, with new materials and equipment and it takes a bit of getting used to. We’re all doing full-colour reduction monotypes (for details of the process, click here )for a couple of days and I went to my supplier in London just before we left to buy some more ink. They no longer stock the ones I’ve been using so I brought an untried brand with me.

The process is done on perspex (plexiglass; acrylic) sheets and the local acrylic is different to the British. I brought some of my own paper (French, BFK Rives) but the brand isn’t available here and I don’t have as much as I need so I have to use the local paper. With so many variables, I decided to spend yesterday doing test plates.

We have two types of Pakistani acrylic sheet and 1 British so I inked each of them with Process Yellow Caligo Safe Wash relief ink, mixed 60:40 with extender. See the photo above. I’d prepared a sheet of A4 paper with a basic drawing of boxes to represent the 6 primary and secondary colours and I used it as a template. I took a print off each plate; the first from each onto BFK Rives and the second, or ghost print, onto a local paper; don’t know what it’s called.


I cleaned the sheets – easy because it’s a water washable oil-based ink and inked up in Process Red and Extender in the same proportion as before.


And finally, I inked up the plates in Process Blue and printed them. I found that one of the Pakistani acrylic sheets gave poor results, especially on the ghost prints, but the second type of Pakistani acrylic and the British ‘Lite Glaze’ both performed well. The local paper was nowhere near as good as BFK Rives so we need to find a substitute. The inks are excellent and wash up without chemicals or vegetable oil. Result.

This residency is supported by Wales Arts International and Arts Council Wales.
rose acw

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