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Message 1
From: Le Green
Date: Tue, 30 Jun 2009 12:38:57 GMT
Subject: [Baren 39193] RE: New Baren Digest (Text) V47 #4872 (Jun 30, 2009)
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RE:
Fine line lino / Georgina Leahy

Hi!
There is such a climate difference between Oregon and Southwest Texas, some of my inking method is probably an adjustment to the heat.
( I still think about my stay with Barbara, she wanted to know who kept putting the butter in the refrigerator ... would have turned into a puddle here)

Barbara is right about the pressure, not just for lino but for wood... something I did not learn to really do right until Karen Kunc and Leslie Koptcho (LSU) came to StoneMetal Press and taught a workshop.
I had been taught that the blankets are really for etching/intaglio, getting the embossing
and was already using the tag board or newsboard...

but how to modify ink to transfer well.... For Oily ink, the Setswell (a little dab will do you!) was a revelation!

Rolling up the plate, too...
I also had not learned to apply the ink in "patches", instead of across the whole plate (when the plate is larger that a single pass.)

Each patch, about one revolution of your brayer and the width of the brayer is layered until full, with a bit of feathering at the edges.
Then the next patch is filled in, and so on until the plate is filled. Then the whole plate is sort of smoothed out with light, quick feather strokes.

In our heat, the thing to remember is that this is totally different from painting a room... you do not want each layer to dry before the next, instead, you have to keep the ink from drying out before it is transferred to the paper.

Covering the whole plate with a thin layer of ink allows that layer to start drying before the next layer is put down.

Le Green-Schubert

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