Do you have a signature color? I have a long-time affinity for deep blue-green, sometimes called Prussian Blue. But if I am honest, I’ve also given my heart to chartreuse. Its lemon-lime brightness makes even the darkest December afternoons seem a bit more energetic. Discovering the origins of chartreuse can lead you down a very interesting rabbit hole…Continue reading “Down the rabbit hole with Chartreuse”
One of the delights of this year’s Open Studios for me was being able to show people just how my monoprint collages go together. I would love to have a stop action video that shows the entire creation process, but the reality is that I am usually in the zone, and forget to start cameras, take images, etc.
I began a monoprint collage just before people arrived at my studio… Here is the work when finished. Follow along below to see some process photos and see if all makes sense to you.Continue reading “How it all goes together”
Green is a funny color. It can range from almost beige to nearly black, with many verdant hues in between. Learning to mix and celebrate all the greens has been a long term project for me. I’m never disappointed.
A glimpse out of my window illustrates the myriad of green possibilities. While it is not true of everywhere in the world, in the midwestern part of the United States, spring is a riot of greens.Continue reading “Celebrating all the greens”
I like orange…in small doses. While I own no orange clothing, I do have one throw pillow. I enjoy including a bit of orange in many of my pieces. Orange often provides a needed contrast to the blues that fill my work. But, how much contrast is too much?Continue reading “How much contrast is too much?”
Several collages are in process in my studio. One was recently banished to the framing room, because I felt it wasn’t going in a positive direction. For a long time I couldn’t articulate why. Finally I experienced an epiphany: it is not always about color.Continue reading “It is not always about the color”
Deciding which color layer comes next is a very serious decision for printmakers. Especially those of us who create using the reduction method. In the past, I have used test sheets on less expensive paper, or the reverse sides of spoiled prints, to make my color decisions.Each of these strategies has a problem.
Less expensive paper can cause ink to behave very differently — often sitting on top of the surface rather than being incorporated into the paper. Further layers don’t print the same way as on my good Rives BFK. The reverse side of the spoiled prints have a particular texture which actually interferes with the next inking of the block and creates problems for the actual edition.
Creating color test strips for layers
My latest linocut has nine color layers, so accuracy has been important. I now print color strips as I go along to help me. I save the long narrow pieces of paper that remain when you tear down paper for an edition. I use a similarly sized piece of linoleum for my test block.
After I print the first layer of ink on an edition, I ink the lino scrap the same way as my block and print it onto my scrap paper. I leave a bit of white paper at the top so I can hang the scrap paper with the edition to dry. When I am deciding on the next color, I use my palette knife to “draw down” some of the color over my first printing layer. I keep in mind that the layer using the knife will be a bit darker than when it is actually printed. When I’ve decided on a color, I can wipe off these draw downs.
Nine color layers mean lots of testing
In Pandora’s Paradise, you can see the color decisions I made for each layer. After I print each layer, I make sure to ink and print on the paper scrap in the same way. For this linocut, I used a modified blend roll, using the heel of my hand to blend some complimentary colors. (Read more about this in a previous blog.)
Occasionally I have a color that isn’t exactly what I expected, but as we know from color theory, how it appears will change with the next color. I just remember to print each new color on my color strip, and eventually I find my way.
The gleaming white borders of my linocuts mean that I am fastidious about keeping clean hands and fingers. But on rare occasions, getting my hands inky becomes necessary. In one of my latest linocuts, I am using many transparent layers, and needed to join contrasting pinky orange and a cerulean blue layers.
I know that a blend roll combination will yield a sort of greyish-brown, which I really don’t want. So instead I’m using a technique that I learned from printmaker Karen Kunc. Kunc is able to get many different colors and fading techniques from one block by using the heel of her palm.
Dab with the outside heel of the palm
When I use the heel of my palm, I am blending the inks slightly, but I am also removing some of the ink as well. This makes the unwanted blend of contrasts less intense when it is printed.
Reducing unwanted blending
Here is what the block looks like before I printed it. This isn’t an exact technique, but I find that if it is used in the middle of a linocut, or at the end, any variation is not noticeable.
I still have to be careful to keep the white edges clean!
Why are some printmaking inks more opaque than others? I’m currently working on a commission that won’t be unveiled until after it is delivered to its new collector. Without giving away the details, I found myself needing to shift from a middle blue tone into much darker greens. Enter the yellow opaque ink…
Opacity vs transparency : not all inks are the same
After using Gamblin’s relief inks for a while, I intuitively know that yellow, napthol scarlet and titanium white will be the most opaque. Other inks like quinacridone red and phthalo blue will be very transparent. For me opacity means that it will cover up the color underneath more completely, and combine with it less. Even with opaque ink straight from the can, you will never get the color on the paper that you see on the glass. They aren’t completely opaque.
I wanted to answer the question of why some inks were more opaque than others. It was remarkably difficult to get such an explanation without jumping off into a discussion of physics for which I was not qualified.
Getting to the why of opacity and transparency
Two on-line sources got me closer to an explanation of why inks vary in opacity. Why Some Paints are Transparent and Others Opaque, a page from Natural Pigments on-line store, has the most complete explanation. The Anatomy of Paint: Pigment and Binder from Essential Vermeer 2.0 has a discussion with a bit less physics.
The answer has three variables
Relative Refractive Indicies
Remember that all pigments whether naturally gathered or industrially created all start out as a powder. The powder is combined with a binder to allow the pigment to be applied to a surface. With printmaking, burnt plate oil (a heated version of linseed oil) is the binder.
Both pigments and binders have a rating for their ability to refract — or scatter — light. The more similar the number, the more likely the created ink will be transparent — or not scattering the light. Linseed oil has an index of 1.479 so pigments that have a very similar index will allow the most light to pass through, appearing transparent. Other pigments like zinc oxide, have an index of 2.00, and therefore appear opaque — not allowing any of the light through.
In my previous post on gold ink, I noted that my favorite one — Charbonnel’s Etching Ink Gold — had almost noticeable particles. It is very opaque, and this makes sense because the light is being refracted off the (larger) gold pigment particles, and can’t make its way down through the ink layers to the white paper.
Distribution of Pigment
This variable is obvious to me, as I liberally mix transparent base into my relief inks to increase the transparency of any color. Even still, I can never achieve the transparency of a phthalo blue with the yellow or white inks. This is probably because of the above two variables.
I’m not sure I completely understand refractive indicies, but I do get a kick out of imagining the light rays trying mightily to penetrate my layer of ink and make it to the white paper.
Now back to my commission and to some new work. Science class is concluded.