Soy Wax Litho Ink Soft Ground: Test 4a

October 1, 2015 & October 6, 2015

Researcher: Stephanie Motyka
Room Temperature: 74º F // 65º F
Humidity: high humidity // low humidity
Materials: Soy Wax Litho Ink Soft Ground, 9″x6″ Copper plate, 12.5º baume, various drawing tools (ball tool, roulette, Brillo pad, china marker, newsprint, pencil, needle tool)
Abstract: Testing the 12.5º baume and variety of mark  in an artistic image rather than test lines to be compared to “Soy Wax Litho Ink Soft Ground: Test 4b”.

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Procedure:
I prepared the plate as normal for using this ground by degreasing the plate and beveling the edges. Rolling the ground onto the plate while on the hot plate was difficult. The roller would streak or pick up the ground in dots while I tried to roll it out evenly. It was easier to roll it out mostly on the hot plate then move off the hot plate to quickly smooth out with light rolling of the roller.

It is my preference to back the plate with the contact paper after I have rolled the ground onto the hot plate plate. The grounded plate can’t be placed on the table grounded side down. I cut a backing then placed the plate onto the sticky side on the table. Then, I carefully trimmed the edges with an xacto knife. After it was trimmed, I picked up the plate with one edge still on the table and lightly smoothed out the backing edges to prevent acid from getting in. I preferred this way because I found it tricky to put a plate on the hot plate with plastic backing on it.

I created three states during this test and proofed in between each state. Each state is stage bitten and recoated with a new soft ground after proofing. I was etching in the 12.5º baume horizontal bath and rinsing in a water bath by submerging the plate in the water. I stopped out different areas based on how deep or dark i wanted the textures. I broke up the areas loosely based on wether it was sky, trees, ocean, or rocks.

State 1 etching times: 15 minutes, 25 minutes, 45 minutes.
State 2 etching times: 20 minutes, 35 minutes, 50 minutes.
State 3 etching times: 10 minutes.

During the second state, I had to re-stop out with the acrylic stop out because the marks opened up after the 35 minute etch. It took 2 coats with drying in between to make sure it was protected. This made it more difficult to remove in areas with close, thin lines. It took extra scrubbing with the tooth brush in the stripper bath. I first used the hot plate to remove the soft ground and then the stripper to continue to remove the stop out. After that, i deoxidized and degreased to pull a proof.

State 1 with guidelines to how I stopped out the plate, proof after plate was etched.

State 1 with guidelines to how I stopped out the plate, proof after plate was etched.

State 2 with guidelines to how i stopped out the plate and the proof after it was etched.

State 2 with guidelines to how i stopped out the plate and the proof after it was etched.

State 3 with guidelines to how i stopped out the plate and the proof after it was etched.

State 3 with guidelines to how i stopped out the plate and the proof after it was etched.

State 3 plate before etching

State 3 plate before etching

 

Printing:
Ink used:
Graphic Chemical 514 Bone Black
Paper type:
Hanemuehle Copperplate
Soaking time:
15 minutes
Press,
blanket set up, and pressure: Takach Etching Press, .5 pressure, 2 sizing catchers

The proofs were printed on October 1, 2015 on Hannemule Copperplate on the Brand etching press with 2 sizing catchers.
I printed on October 6, 2015 with Hannemule Copperplate on the Takach etching press set to .5 with 2 sizing catchers and a newsprint under the plate on the press-bed. The paper soaked for 10 minutes. I also had a sheet of BFK Rives to print on. This printed much lighter than on the Hannemule.

Final print

Final print

Conclusions:
Areas that were etched and re-etched did not open bite or lighten. They became velvet-like and very black (the 45 min + 50 min etchs). The different textures printed well and many were achieved during the same etch and state. The Hannemule Copperplate paper was ideal for getting the quality of blacks and textures I wanted from the plate. I was not happy with the print on BFK Rives. I felt like the quality and tone was lost even through the paper was soaked a similar time, the pressure was similar and the state was the same.

BFK Rives (left), Hahnemuhle (right)

BFK Rives (left), Hahnemuhle Copperplate (right)

 

Soy Wax Litho Ink Soft Ground: Test 4b >