Monday, July 27, 2009

Ditch linocut color 5



Moving right along, by golly. I tried to use a more transparent blue for this step... an experiment that I will deem marginally successful. The next color should come quickly, as there isn't really much of this particular blue that will remain in the finished linocut.

7 comments:

Jennifer Rose said...

I actually like this as it is right now :) Just really like the colours and the suggestion of grass and leaves :)

susanjtweit said...

You go! It looks fabulous already with all of that shadowy grass and leaf pattern.

In Denver tonight--it's so green here, it's weird!

Chris said...

I am new to printmaking, only been at it for one year. I noticed that you print a new ink over another one about every 2 days. I have been waiting a week or more until the previous layer is no longer tacky. Is that necessary?

Sherrie Y said...

Hi Chris-

The short answer is "no, you don't have to wait." That said... it depends on your ink and your climate and your paper and........

If your previous ink layer is too tacky, the next color can lift it off. (Wet rejection.) If your previous ink layer is too DRY, you can get dry rejection.

I'm using Daniel Smith oil based inks, which are lovely and contain no driers at all. I usually add a little dryer to speed things along in the later stages (colors 5 and up, usually) because I have had un-altered inks take more than a month to dry on the top layer. Not acceptable!

Right now I'm lucky in that I can squeeze out time every few days to print, but that's not always the case. I did a print this size last spring and it took almost 2 months to finish.

Have fun!

turtlewoman said...

Well, since blue (first) and then green are my favorite colors I think this lino. looks great.

Lindy

Chris said...

Sherrie,

Could you explain what wet rejection and dry rejection are and look like. I may have experienced them but had no idea what was happening.

Thank you,
Chris

Sherrie Y said...

Hmm... Chris, wet rejection to me is if you're applying a second color over the first and color lifts from the paper to the block. Say you have red down and you're adding a blue layer... if red comes up on the block when you remove the sheet and the blue imprint is spotty, then the red layer is still too wet.

Dry rejection... in my experience it manifests as a layer that just won't adhere or adheres in a spotty manner. If you're using oil-based inks you can add a little Setswell compound to your ink... but it's really an experimenting game that I'm not totally sure I've mastered. I also run in to problems with inconsistent paper, which I'm finding affects ink adhesion in lots of ways.

It's a crazy old business. Gimme back my crayons.