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This week I experimented with two new printmaking techniques. The first one used a framed flexible plastic membrane plate setup that I designed and built myself. For the second one I tried using parchment paper as a plate.
I spent two days designing and building a new, larger printing setup. This one is designed to make 8×10 prints. I used foam core to make a frame and taped Saran Wrap to it. I hinged one side of the frame to another sheet of foam core. The frame can swing over to cover a piece of paper. I can then transfer paint or ink by rubbing the back of the plastic, swing it back, clean the plate, apply a different color, swing it back over the paper and print it. Also, I can print a reference image and place it under the printing plate while I work.
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It works. It’s possible to print colors in multiple passes and maintain registration.
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Strathmore 400 Series Printmaking paper 11×14 inches (27.9×35.6 cm), Saran Wrap on a foam core frame used as a plate, and Golden Open Acrylics. Image is 8×10 inches (20.3×25.6 cm).
My second print tests using parchment paper as a plate (the non-stick kind you buy in a roll to use for baking). I drew on the parchment with oil paint sticks and then transferred the pigment to a gessoed birch plywood panel by rubbing the back of the parchment placed over the panel.
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Reynold’s Parchment Paper Non- Stick, Jack Richeson student grade oil paintstiks, gessoed 1/8 inch birch plywood.
This didn’t turn out the way I expected, but that’s why you do experiments. I used a metal spoon to rub the back of the parchment and all the marks showed up in the print. I had to rub long and hard to transfer the pigment. I’m not sure it is worth the effort.
Jim
