Skip to main content

Day 49: Over-printing the accordion book

This studio visit, I began working in earnest on overprinting images onto the pages of the 100 page accordion book. During the last week, I made about 20 fine pen contour drawings from photos of Lucerne. I went to Kinko's to use their Xerox machine to make enlargements of the drawings, up to 800%. In addition to the drawings, I accidentally photocopied a page from my desk diary. This produced an interesting abstract pattern of lines and holes that I decided to incorporate into the prints.

This is how the studio looked with everything ready to print:

On the right is the accordion book, ready to be printed on again. In the middle are all the photocopies. On the left are the piles of paper to aid in hand-printing, blotting, and interleaving between the newly-printed pages.

I'm doing all the overprints using the same paper-litho transfer process as the first layer of prints, but in silver ink instead of sanguine-black. The abstract dot pattern came out like this:

And here is an example of the patterns produced by those 800% enlargements:

This combination of prints based on 'damaged photos' and drawings is something I did a lot of when I made all those print-sculpture combinations with cigar boxes (link to album here). I like the combination of mysterious, solid masses in the first layer, then the linear but still slightly unclear addition of the second layer.

 Subscribe to Praeterita in a reader


Popular posts from this blog

Brancusi in Plastic

Artist Mary Ellen Croteau is showing these columns made from recycled plastic cartons and lids in the window of the Columbia College bookstore on Michigan Avenue. They are a playful homage to Brancusi's "Endless Columns", with a serious environmental message for our times:

Mary Ellen also runs a wonderful experimental art gallery in a window space in west Chicago, called Art on Armitage. I will be exhibiting a mixed media piece there during August 2012.

How to etch a linoleum block

Linoleum as a material for printmaking has been used for nearly a hundred years now. Normally, you cut an image out using special gouges similar to woodcut tools, cutting away the lino around the image you want to print. This is called relief printmaking, because if you look at the block from the side, the material that remains stands up in relief from the backing material. You then roll ink with a brayer over the surface of the block, place paper over it, and either print by hand or run it through a press. You can do complex things this way (for example, reduction linocuts), but the beauty of the process is that it is quick, simple, and direct.

A few years ago, I saw some prints that were classified as coming from etched linoleum blocks, and I loved the textures I saw in them. In the last few months, I've been trying to use this technique in my own studio, learning about it as one does these days from websites and YouTube videos. I've also had email exchanges with several pr…

Restoring my Printing Press

I've just finished restoring and assembling my large etching press -- a six week process involving lots of rust removal, scrubbing with steel wool, and repainting. Here is a photo of the same kind of press from the Chicago Printmakers Collaborative:

And here is a short YouTube video of me testing the press, making sure the motor still works after nearly seven years of lying in storage: