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bridog
07-05-2005, 10:12 PM
Hi everyone
got ambitious again today and decided to do a small study based on a photo I had taken a few weeks back
the little jumper was quite small, maybe size of a thimble (and he/she was kinda terra cotta orange colour overall....not sure what species this is)
my dig. cam has macro lens setting so was able to take a close up photo to work from

here's a question as well for you printmaking experts...how much pressure does one exert on a plate when passing through the rollers on a etching press?
mine came with gauges but not sure what setting should be or how tight the rollers need to be
I am assuming if the plate goes thru with a slight bit of tightness when roller passes over plate then that's ok?
Does one just do one pass of the plate between the rollers or can you reverse the direction on the handles to move the bed backwards and do another pass?

Here is my observation: the dampened paper contact with the oil based etching ink seems to be good, there is also a bit of embossment from the plate into the paper. Think I am doing things right hoepfully?

Brian :wave:

Diane Cutter
07-06-2005, 02:42 PM
Unfortunately, Brian, the pressure is all experimentation. I keep notes for different types of plates.

Metal plates can withstand a lot of pressure, but watch out for plexi and lino. The plexi will crack with too much pressure and lino eventually gets a little squished in larger editions.

I don't always like the emboss on my prints, so I will often put the paper down on the bed and then place the inked plates on the paper, then the blankets... just the opposite of all the illustrations on how to print.

Also, I find if the paper is stiff, since I use Fabriano Uno sometimes, I will run it through twice before lifting off the blankets...

It all just depends... Also, the more you use your blankets, the more they compress, so sometimes you need to make small pressure adjustments over time.

So how are you liking her?

The print, by the way, is lovely. Again, you've gotten good degrees of light and dark in the folliage. I think you could give your little frog a little more volume, to distinguish him/her a little better from the leaf...

The printing looks pretty good, not too messy on the edges. I notice quite an emboss of the plate edge, so you'll need to bevel the edges just a bit??

Overall, lovely, Brian...

Diane

muwahaha
07-06-2005, 05:31 PM
Nice print. I have to say I like the folliage better than the frog. I think I would like a little more definition between the back end and the back left leg. I feel like I am looking at the frog more from a straight side shot and that the frog just has some wierd lumped backside rather than a shot somewhat downward and seeing the top of the far leg.

bridog
07-06-2005, 09:58 PM
Points noted about frog
muwahaha , I know what you are saying about the lack of defined area with the back end and leg. Working on correcting this oversight of mine.
Diane, I really do appreciate the advice on the press. I am getting to know her more and more as I experiment. Thanks for critique/observations on the frog print as well. The bevel has been performed, used a 3 sided file and then fine sandpaper for smoothing plexi edge.
I have also started a linocut version of this very same compostion. It is officially frog week for this artist ;)

Brian

ps. attaching scans of hand coloured etching and the beginning stages of the new lino

muwahaha
07-06-2005, 10:57 PM
The lino is just awesome. I especially like the leaf under the frog, but the whole thing is great.

Joost
07-08-2005, 10:01 AM
The lino is just awesome. I especially like the leaf under the frog, but the whole thing is great.

To be honest, I too like the lino much better than the drypoint. Much more power. Some VERY good lines, very nice structure of the frog and the leaves! Great!

Diane Cutter
07-08-2005, 11:46 AM
Me, too, I agree with Joost... The linocut is a very strong and lovely image!

Diane

Ari Sutton
07-08-2005, 06:44 PM
Brian,

The linocut is definitely better, but it is also a very different media. One is a relief print and the other is an ingaglio. I think you got some good darks and a variety of line weights in the drypoint, which is good. I think the problem with the frog is that the markings on his skin look too hairy. I read it as a mouse or some other kind of rodent before I looked at the reference pic. I think you may want to use shorter, broader lines for the markings on the frog's skin. Maybe even gouging out small holes instead of short lines. That may help the image. Otherwise I think it is a very successful drypoint.

Ari