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Trier
01-04-2016, 10:17 PM
Still in my first week of beginning to print, and I have a big question as to whether it is possible to salvage/fix prints that have blobs of ink and dark areas that I want to eliminate, reduce or blend.

I have tried different kinds of erasers, except one of those power grinder types, without any success.

I also tried soy oil as a solvent , but that didn't work either.

I thought of other solvents, or some kind of cover up with maybe white/gray paint, but I can see a big time wasting mess if this is something that can't be done.

Maybe a kind voice of experience can give me advice.

I guess I am making monoprints by redrawing the image after each pull.

I am using Gamblin Portland Black etching ink, which I believe is oil based.

The paper is mostly old pin type printer paper, which is thin, but using ink jet paper or kraft paper doesn't seem to make any difference.

I thought of using poster board to allow for serious scraping removal with sandpaper or something.

I attach some images to show you what I mean and give you clues as to what is going on.
http://www.wetcanvas.com/Community/images/04-Jan-2016/89990-DSCN0739WC.JPG

http://www.wetcanvas.com/Community/images/04-Jan-2016/89990-DSCN0740Six1WC.JPG

http://www.wetcanvas.com/Community/images/04-Jan-2016/89990-DSCN0739SIXx4WC.JPG

If it all boils down to being unfixable, I will try to overpaint and see what that looks like.

Thanks.
C&C
Regards,
Trier

BeLing
01-05-2016, 01:39 PM
I actually think the problem lies in NOT getting the darks you should.

How are you actually printing? I looks like you're rubbing an offset impression from that board?

Anyway, I feel that the magic of printing really lies in the fact that no matter how overworked and tortured the plate, every print is of pristine perfection. I disapprove of working over prints--- they then become mixed medium, or something else. So if you want to work on that image, subsequently, with solvents, scrapers, white-out, paint, go right ahead! Just call it a drawing, or painting. Nothing wrong with that!

As to removing the tones you don't want, get rid of them before you print. I will use paper towels, even talcum, to rid plates of tone when, for some reason, I can't burnish them out. To get deeper blacks, perhaps the ink itself is too thin, or stiff? Litho ink, or block printing ink would be better. (Relief-type ink has a sort of sticky varnish in them, I think.) Or the paper just isn't being cooperative. All you can do, I guess, is experiment. Which can be fun. . . but I know how frustrating it can be to keep missing the effect you're aiming for. I have an etching which, maybe because the copper is old, is such a pain to wipe (too much tone) and oh, I wasted so many sheets of expensive rag paper before getting anything I liked. I wish patience, and good luck to you!

Trier
01-05-2016, 09:17 PM
BeLing

Thank you very much for your time and trouble in giving me such an informative and helpful reply. Greatly appreciated.

You are correct in assuming that I print off that small plate which has a piece of aluminum foil taped to it.
I was trying to do a "kitchen lithograph" but had very poor results, so I inked the whole plate and did some wiping out, and printed the first image, #1.
Then I printed #2, a ghost image, which took away most of the remaining ink.
Then I used that small stubby hair brush, dipped in some thinner ink, to draw another image by following the faint image left on the plate. That is where I think the uneven blobs of ink came from on #3.
I continued in the same manner for #4 & #5

I can see immediately what you mean by saying that the problem is not having enough blackness in the lines. I was hoping they would come out darker, but being inexperienced, I had no idea as to what to expect.

Now that I know that it was not an unreasonable expectation, I will continue to adjust the ink and paper until I find a combination that works.

I was quite sure that the best way to avoid problems with print was to have the plate properly prepared in the first place; I just wondered if there was a way to correct a print without turning it into a mixed media piece. Apparently not, and this information alone will save me considerable time and trouble, not to mention supplies.

That mention of using talcum powder sounds interesting, however.

In regard to the ink; one of the lithography people on You Tube and others recommended the Gamblin Portland Black for lithographs. and Gamblin advertises it as being suitable for both etching and lithography. It is very sticky.

I also have a small tube of Speedball watersoluble Block Printing Ink (red) that I will try, as per your kind suggestion.

Again, thank you for your generous advice and encouragement. I think I can understand the enthusiasm for printing.

Regards,
Trier