Maps VI

by maggie

And what have we learnt this week?

That materials change when you use them and if you want to have everything nice and registered you need to make a master former and keep everything the same ‘age’…

And wasn’t that a tedious thing to learn.

This is all about planning I suppose, but if you don’t know what you’re doing how can you plan for it?

A month or so ago I drew a tracing of the loop the loop for the first plate of the Index Sheet, and last week I offered it up and found that one end was two mm out. So I corrected the errors in preparation to start the second plate for the Index Sheet. I had ready a new A2 board and some corrugated card. Then I discovered that the old plate was  two mm smaller than the new one. It had shrunk in the wash.

AHHHHH… HHH

No don’t throw everything out the window. Take a tea break and regroup.

  • How well did you errase all those ‘errors?
  • How long does it take to shrink the board?
  • How important is the registration?

The plan was for to make stripes in the background on the second plate. So I had to transfer the loops to the back of the corrugated card. I wanted different areas to have stripes in differnt orientations.

This is an anotated copy of a rather dodgy print with the background zoned into areas nearer and further from the encircling ocean.

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So we begin

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this is the frame, (i.e. the bright blue area on the drawing above) with the cut line the outer edge of the loop. It’s right side up, because it the underside of the corrugated paper

This plate was a complete nightmare of process. the shapes had to be traced from the master copy and then cut out and stuck in the correct posstion. I had transfered the loops to the back board and half the time the edges didn’t meet up. You can see the lines on the plate where they is a miss match.

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The finished plate, with a layer of button polish to seal it. The diagonal and horizonal areas are made with Pret cups. The three isolated circles are wavey Costa toasted packets.

Here is the first go at printing the new plate individually and with the original plate. The two plates making up the complete image have ares that are ‘blank’. That is areas where there should have relatively little tone. I added more button polish to the first plate in the background. after I made these prints I also added more polish to the smooth bits of the second plate. (it’s only had one thin layers.)

Here is the first print of the new plate.DSCN1543

The hevy line between the hatching in the plain area is due to the step in thickness between the back board and the corrugated paper. In some of the plates a white line shows up, if the step is too steep and the paper too dry. I made every effort to get ink in these areas.

The whiter marks in the ‘blank’ areas are due to the PVA used to stick the top paper down. It’s much more smooth than the rest of the board. I’m not sure what that pale blob in the middle upper right is. Too much polish?

Before I inked up the plate I put it through the press to squash everything down and help it settle in. At some point I need to stick down the corners that get picked up during inking and wiping.

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Here’s is the two plate print. The silver ink is surprisingly murky. I printed the corrugated plate first and then the loops. I’m not sure why the blue is dark. Is the blue ink reacting with the silver ink underneath?

This plate is a ghost print of the first plate (loops), it has in places some silver ink on it that offset from the printing the corrugated plate.

And this is the ghost print of the silver inked corrugated plate.

The blue areas are from the blue ink used previously on the plate.

I have more prints I want to make from these plates and investigate the combinations of inks and the two plates.

MER

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