Ceding control to solvents

Solvents can make you lose control… in a good way. I learned about using them with monoprints during my time at Penland School of Crafts.

One of my biggest complaints about relief printmaking is that it is hard to have an image look painterly. You either have flat ink, some kind of blend roll, or layers of texture made by a rotary tool. Flow is something you rarely get with a relief print.

Solvent creates icy effects

This iceberg was created by dropping mineral spirits onto a rich phthalo blue inked plate.

Solvents are the Wild West

This iceberg image was one of the first ones where I used solvent freely. I liberally dropped mineral spirits on a transparent layer of phthalo blue lithography ink. Using a Q-tip and a paint brush, I drew around the areas with the solvent, and then let the pigment disperse. If you have ever sprinkled salt crystals on wet watercolor, the effect is similar, but much more pronounced.

Solvents are the Wild West on the monoprinting plate. Your inks can bleed into areas you didn’t intend, such as where the iceberg is now peaking out above the surface of the water. While oil-based ink can stay “open” — meaning you can work with it or wait to print for some time, when you put down the solvent, you are on the clock. I found that within 10-15 minutes, areas of my block had little pigment, and the surface appeared dry. When printed, you will see the white of the printing paper. Whether this is what you intended, or not. Delays also mean you lose some of the sharp details that solvents and brushes can create.

Bringing solvent back to the home studio

Despite the challenges of solvents, I was determined to figure out a way to use them in my home studio. I don’t have adequate ventilation to use solvents in my basement, so I purchased a small metal office table at the IU Surplus Store and placed it outside, close to a door that leads to the basement. I can bring the inked plate outside, use Q-tips, brushes and toothbrush bristles to apply the solvent to the plate, and then rush the plate back inside to the press.

Be careful to keep the plate perfectly level on the way to the press. Juicy solvent areas will run. I learned that the hard way.

Gamsol moves relief ink.

Gamsol moved the Gamblin relief ink well, but the ink itself transferred poorly from the plate to dry paper.

The battle between solvents, inks and papers

Even outside, odorless mineral spirits are toxic, so I was hopeful that I could use Gamblin’s Gamsol as a solvent and use my Gamblin relief inks for monotypes. I discovered two things: 1) the Gamsol moved the relief ink quickly on the plate, but 2) the Gamblin relief ink transferred poorly from the polycarbonate plate to dry paper. Gamblin’s website does recommend monoprinting on damp paper, but my studio doesn’t have the capability to soak paper. It would have to be done in our only bathtub up an entire flight of stairs. Plus once you get paper wet, it is difficult to register subsequent layers. So no relief ink…

Luckily I had some Hanco lithography inks, like those I used at Penland.  Unfortunately, the Gamsol didn’t move this ink well at all. So I will need to continue using odorless mineral spirits on my monoprint plates, and reacquaint myself with litho inks.

Gamsol didn't move lithography ink

Gamsol wasn’t strong enough to move the lithography inks in the ways I wanted.

One of the challenges I made for myself is to use new techniques intentionally. I want to ask myself — is there a reason why I am using solvent in this piece — other than the fact that it creates cool organic oozings of color…

This block has a great deal of ink and solvent. Not sure it is going to print well…

Here is a sneak peek at a multi-layered monoprint that I created using solvent and tape. Parts were successful, and parts went, well, squish.

More about the squish and the tape to come…

 

Share

4 thoughts on “Ceding control to solvents

    1. Elizabeth Busey Post author

      Thanks Carol! I realized I didn’t respond to this earlier 🙂 It was wonderful to see you this weekend. I’m looking forward to hearing about your next creative endeavors — watercolor…glass…photography!

      Reply
  1. Aine Scannell

    Hi Elizabeth – You mentioned in this post difficulties with getting soaked blotted paper to your studio for printmaking………..??

    Well recently I cam across something which when I saw it I thought – eek oh Gawd …why didnt I think of that myself. I had a problem recently with some very long paper I put through my studio etching press and tried to do it in my bath – which turned out to be more problematic etc etc. Anyway

    You organise the torn sheets of paper on a work surface and have a slightly larger plastic refuse sack (or similar) to hand. Then its a process of placing a loosely wrung out clean large bath towel onto each sheet and adding water from a plant spray and or large sponge as well. leave them ‘soaking up the paper for a while and then blot them as you need to use them.

    I will definitely do this next time. I mean I only needed 3 large pieces. It would have been a lot less physically demanding too. Anyway just thought I would mention it. Hope its of use.

    Reply
    1. Elizabeth Busey Post author

      Hi Aine,
      This is a great suggestion for big wet paper. I could do this on my glass topped table in my studio rather than running up and down stairs courting disaster.Thanks for the tip! E

      Reply

Leave a Reply

Your email address will not be published. Required fields are marked *