Tag Archives: relief ink

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…

 

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Now the possibilities are endless

©Elizabeth Busey_Cantata_for_Eventide

©Elizabeth Busey, Cantata for Eventide. Reduction Linocut on Rives BFK, 18 x 18in image size, $350 unframed.

My latest linocut, Cantata for Eventide, was inspired by a blanket of clouds, and benefits from an entirely new color in my palette. My local art supply store, Pygmalion’s, creates a custom oil color each year. All proceeds go to a local charity, and there is a show in the spring for people to show the artwork they created with the color.

new color in a tube

My yellow relief ink made by Gamblin is definitely on the greenish side, so I was intrigued to use this buttery, warm yellow. Owner and fellow printmaker John Wilson advised me to squeeze out some oil paint on a paper towel and let it sit for several hours. Sure enough, some of the oil soaked into the towel, leaving me with a substance that looks much like my relief inks. Mixed with some transparent base, it is the base for the setting sun in Cantata for Eventide.

I’m thrilled with the results. I haven’t been able to get quite this warm a yellow before. Now it is all I can do to not go and buy lots of Gamblin oil colors with which to experiment. While the number of colors you can make is infinite, the colors you start with make all the difference. 

I wonder what color I will adopt next…

 

 

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