View Full Version : Stone Lithography *The Eatery*
12-11-2001, 03:20 PM
This is probably the most difficult lithography experience i've had with making a plate to print with. The grinding process alone was insane. I didn't notice any real difference between printing with a heavy stone opposed to an aluminum pate aside form having to lug a really heavy stone from the drawing counter to the printing press!
12-11-2001, 03:29 PM
thanks for sharing the insight about the aluminum to the stone. I would love to hear if anyone else has their opinions on that. The patterning by keeping it down to line and dash is very satisfying in this piece. Even the dark areas have a 'molecular' feel because of it. The variation of tone is great in giving particularly the puddle some volume. I like the concept of the offereing seemingly dragged in for the 'worm hole wall' feeding frenzy. Well built environment. Like it.
12-11-2001, 03:55 PM
ack! i sized down that pic. it wasn't suppose to be that big.
Zotma i think you deciphered something very simple but something that i was never aware of upon doing. that figure in the distance was put there as a compositonal element to draw your eye into the distance. i never thought of the aspect of it being the one to have dragged the food before the worms.. that makes sense though.
well something about preparing the stone for drawing that was really troublesome was applying the different gradients of grit to the stone surface and measuring the surface to get it perfectly even. and the grinding wheel that i used was straight out of dante's infern. that in itself doesn't really seem worth the trouble when drawing onto the aluminum is so much easier. all you have to do is apply the gum arabic to the right areas and you're ready to go. another problematic issue about using stone is it's potential to crack under the printing press. there could be a hairline fracture inside the stone that you wouldn't know about until it's too late. if anyone reading this prefers using stone can you tell me any advantages?
12-11-2001, 07:03 PM
Originally posted by Cabal
...if anyone reading this prefers using stone can you tell me any advantages?
I have a handful of lithos under my belt... took a few classes at PAFA with an extremely knowledgable prof. You're right, the grinding process for a stone is insane and it takes some logistics to heft it around & onto the press.
I may be forgetting some, but advantages to stone are:
- you can scrape crayon & tusche off a stone & get back to white (if you know what you're doing). This doesnt work with a plate, once a mark is down, it is down.
- Those with a very sensitive eye say not only does a stone hold detail better, but a grey stone does so better than a yellow one. I didnt get into it enough to discern that, but it seems to be important for some experts.
Besides that, I think its the sheer tactile joy and love of tradition for most to draw on a stone. It is neat to do, but I moved to plates in order to be able to take work home, and also in order to use a great new technique.... substituting zerox toner powder solution for liquid tusche (impossible to do on a stone, requires a plate)
12-15-2001, 09:38 AM
I think all techniques offer different advantages. Lithography is one thing I have stayed away from for a variety of reasons.
1. The grinding and lifting of the stones is too much for me
2. There are a lot of steps you HAVE to remember in order for
your image to come about the way you would like.
3. The chemicals used in lithography are very toxic compared to
what is available in some of the other printmaking techniques.
12-16-2001, 02:37 AM
well if you're worried about toxic then beware of etching as well.... heh... ACID...
actually regular lithography that involves the aluminum plates does intail a few complicated procedures but once you do it a few times it gets easier. nevermind the inking of the plate is the easiest i've discovered yet. i suppose it's as easy as a woodcut but then you don't get that fine crayon line in a wood cutting.
12-22-2001, 08:57 PM
Cabal: interesting image. I do like it.
Aluminum litho plates though are... well as the artist/musician Terry Allen once told me, "drawing on aluminum plates are like french kissing a corpse." No matter what the technique, there was no response.
Stones: you can do partial to complete physical delitions allowing the production of a great range of reductive and additive prints. Plates can barely alow chemical deletions.
Stones: you can choose the final grain struction you want rather having to settle with the ball graining done on the plate purchased.
Stones don't oxidize like aluminum plates do which allows you do draw on a stone for months without the problems this would occasion on a plate.
As Terry Allen, as I quoted first hints, stones are much more sensitive than plates. Darker stones are much less likely to get over "etched" than lighter yellow or whitish stones.
You *can* do toner washes on a stone (with some difficulty since the stone needs to be tilted) and you can only achieve many of the interesting tuche wash textures on litho stones.
Graining stone to stone, instead of using a levigator, is an easy way to level a stone. If the reason you don't want to use a stone is the weight, you're whims. Stones are recyclible, you can do about a hundred prints per inch of thickness of stone.
Litho = stone, if you use plates you might as well say you are doing aluminography.
The chemical hazards of plate lithography are much greater than stone lithography. Plate often use dangerous lacquers and dangerous solvents that aren't needed with stone lithography. All in all the health hazards and their prventions are another long thread.
01-11-2002, 07:47 PM
I really like this.
You have done a great job of leading the viewer to discover the entire piece and go back for more.
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