GRAPHICS ARTS WORKSHOP (PRINTMAKING)
ART CR 225.00 Sec 002 (0126)/326.00 Sec 002 (0150)
Meets: Thur 1:10 -4:50 PM Room: 11038 HN
PROFESSOR JAMES ACEVEDO
TELEPHONE: 772-4996, jacevedo@interport.net
Homepage: http://www.users.interport.net/~jacevedo/

Syllabus/Materials	Counteretch	First Etch	2nd Etch/Roll up	Proofing/Printing
Schedule	Assignments	Bibliography	Checklist

More Instructions:

Drawing a Litho

Litho Pencils/Crayons

Photocopy Transfer

SYLLABUS
Course
This section of the Graphics Workshop concentrates on the technique of black and white lithography, a printmaking process which works on the principle that grease and water do not mix. Students will make a minumum of four ltihographs during the semester. In addition students will be making a short presentation to the class on a printmaking subject or artist.

Open Studio
This course requires students to work outside of class a minumum of three hours a week. Students may use the workshop during open studio. Hours are posted on the door to the lab. A monitor is present during those hours.

Studio Fee
This course has a studio fee of $30.00. Students who do not pay the studio fee by the end of the semester will receive a grade of incomplete. This fee goes toward purchasing gum and lithotine.

Safety
Students will observe all posted cautions for operating equipment and using chemicals. In this course students work in proximity to solvents and acids. Students with health concerns should bring them to the attention of the professor.

Grading and Attendance Policy
Grades are based on the following:
Work 55%
Attendance 45%

Points: There are four projects. Each project is valued at 10 points. The presentation is valued at 15 points. For each class session students receive 3 points if present and on time. If late, students receive, only 2 points. If absent, students receive 0 points. I will take attendance at 1:15.

At the end of the term points are added up and graded on a standard scale.

MATERIALS
Aluminum litho Plate: 25 x 36 inch
You will need a minimum of two for the semester

Materials for Drawing:
Litho Crayons - several #1 and #3 or if sold by the box only, buy one box of #3
Litho Pencils - #1, #3, #5
Tusche(Solid)Stick
Optional: #1 tablet crayon, Liquid tusche 2oz.

Brushes- a variety of brushes for using with the tusche ink and other processes.
#1 and #4 watercolor brush, 1/2 in. flat watercolor (These should be inexpensive brushes, synthetics are ok))
Bristle(gesso type) brush- 1 and 2 in.
Plastic cups or well- type palette for ink

Paper:
Pad of newsprint 18 x 24 in.
Printing papers:
Suggested papers: BFK Rives, Arches Cover, Somerset Satin, Rives Lightweight, Lenox, Strathmore Charcoal, Basingwerk.
Please wait before buying paper.

Other Items:
Sponges: Two cellulose sponges
Bounty Paper Towels
Work clothes or smock
Hand cleaner or soap
General art supplies: Razor blade or xacto knife, pencils, eraser, etc

Places to buy materials:
Pearl Paint - Canal and Broadway. Best place to buy all materials.
Utrecht - 4th Ave and 11th Street. NO plates. Has crayons and paper.
New York Central - 3rd Ave and 10th Street. All materials. More expensive than Pearl.

BIBLIOGRAPHY

Books on technique:
Antreasian, Garo Z. The Tamarind Book of Lithography: Art & Techniques. New York, Harry N. Abrams, 1970. NE2425 .A5
Jones, Stanley. Lithography for Artists. London, Oxford Press, 1967 NE 2430 .J6 (not at HC)
Senefelder,Aloys. Complete Course in Lithography. New York, DaCapo Press, 1968. NE 2420 .S513.
This is the text by the inventor of lithography, originally published in 1819 in London.

Books on the history of lithography:
Adams, Clinton. American Lithographers: 1900-60. 1983 Ne2304 .A3
Bauman, Hans. Artists’ Lithographs: A World History from Senefelder to the Present. New York, Putnam, 1970. NE 2295 .B38
Gilmour, Pat,ed. Lasting Impressions: Lithography as Art. Philadelphia, University of Pennsylvania, 1988. NE 2295 .L37
Porzio, Domenico, ed. Lithography: 200 Years of Art, History and Technique. New York, Harry Abrams, 1982. NE 2425 .L571

Books on printmaking in general:
Castleman, Riva. Contemporary Prints. New York Viking Press, 1973. NE 490 .C37
Eichenberg, Fritz. The Art of the Print. New York, Harry Abrams, 1976. NE 400.E52
Melot, Michel. Prints. New York, Skira, 1981. NE 400 .M4

In the Hunter College Library the section on print-making (as well as all the arts) is located on the seventh floor. Print-making books have the prefix NE

The best book how to do book on litho that I have found is Stone and Plate Lithography Lab Manual by Lise Drost. This book is available from Rembrandt Graphics.

TOP HOME

PREPARING THE PLATE/ THE COUNTERETCH

Checklist:
aluminum plate counteretch solution
metal shears newsprint
cotton swabs or towel paper fan

The counter-etch is a mild acidic solution which is used to clean the plate before a drawing is made.
Mixed counter-etch is stored in the chemical cabinet or by the graining sink in a marked plastic bottle; however, if necessary to mix, the formula is:

1/2 oz. acetic acid into 16 oz (1 pt.) of water. Always mix acid into water.

Procedure
1. If necessary cut the plate to size at the plate cutter or with metal shears. Round the edges of the plate for safety.

2. Take plate to litho sink and flood with water.

3. Using circular motions wipe plate with cotton swab to remove oxide build-up. Soft towel paper can also be used.
Repeat two or three times. Keep plate wet.

4. Pour a small amount (about six inch diameter pool) of counteretch solution in center of plate. Do not pour counteretch all over plate.

Use caution not to splash counteretch in eyes or on skin.

5. Rock plate to distribute counteretch solution over entire plate. Let stand for a minute or two.

6. Flood with water, drain plate and before plate dries, repeat steps 4 and 5.

7. Wash off counteretch. Drain excess water. Take plate to a table, blot plate with clean newsprint. Quickly fan dry.
The plate should never air dry because stains will form which will interfere with the drawing adhering properly.

The plate is now ready to draw on. For margin gum out:
Pour one ounce of margin gum into a bowl and brush onto outer 1 to 2 inches of plate. Let dry. The film of dried gum will protect the plate from fingerprints, etc.

Store plate with newsprint overlay to protect surface. When handling plate be careful not to scratch or bend plate.

TOP HOME

15 drops or more per 1 ounce of gum - dark or black areas
5-15 drops per 1 ounce of gum - medium areas
0-5 drops per 1 ounce of gum - light areas

4. Begin to apply mixed etch working from lightest to darkest areas. Use a small brush if necessary. Work etch in each area for several minutes. It is all right if a weaker etch goes over an area which will receive a stronger etch; however, you should not let a strong etch spill onto a light area.

5. When all areas have received an etch, apply pure gum over the entire plate, including borders.

6. Blot plate with clean newsprint to remove excess gum.

7. Using Bounty, buff plate until dry. It is important that the plate is buffed quickly and evenly to a smooth almost invisible gum coat.
( If the gum coat streaks badly, apply gum again and re-do buff )

8. Wipe back of plate of any water or excess gum.

The plate can now be stored or after a 30 minute wait, proceed to the Roll Up/Second Etch .
You should be careful that no water gets on the surface of the plate.

TOP HOME

Important: no water is to be applied to the plate yet.

4. Wipe away dissolved drawing with paper towels. The entire drawing should disappear. Do this and the next step wearing gloves.

5. Apply small amount of asphaltum on a paper towel and wipe down on plate to a thin, even coat over drawing. The plate should become a light reddish brown.

6. Now apply clean water and dissolve gum coat. Use paper towels to wipe away dirty water. Apply more water as necessary. Wipe until plate is clean.

7. When gum coat is entirely dissolved, keep plate damp with a thin film of water applied with a clean sponge.

8. Begin rolling-up making sure plate never dries out. (It is the water which prevents ink from sticking to the non-image areas). When plate looks like your original drawing, stop and fan dry.

9. Once dry, apply talc and polish. The plate is now ready to be given the second etch.

10. Apply mixed gum and acid repeating the amounts from the first etch. You should end up with a plate with a buffed down gum coat which can either be stored or readied to print.

TOP HOME

PROOFING AND PRINTING—ALUMINUM PLATES

Checklist:

For the press : scraper bar tympan grease tympan roller blotter or backing sheet

For inking: ink slab ink (litho black or roll up black) ink knife spatula

For wash-out/dampening: 2 water bowls—one with clean water one empty, for dirty water 2 sponges rags or paper towels lithotine

Paper: newsprint for initial proofs paper for intermediate proofs good paper for edition

Preparation:

1. While hands are clean, cut all paper to size. Prepare registration marks on backs.
Position paper convenient to press. Keep it clean.

2. Set out water bowls, sponges, towel paper, etc.

3. Position plate in center of press bed. Insert correct scraper bar and set limit marks with masking tape.

4. Set initial pressure of press. Begin with light to medium pressure.

5. Prepare ink slab and roller with ink.

Proofing:

1. Apply lithotine to plate and dissolve drawing through gumcoat. Clear residue
and continue,adding lithotine if necessary, until drawing disappears. Wipe clean with Bounty.

2. Apply asphaltum and wipe down to a thin, even coat.

3. Apply water with paper towel and remove gum coat and excess asphaltum.

4. When gum and excess asphaltum are cleared, keeping plate damp, begin rolling up plate. Do not over—ink.

5. When image appears inked, fan dry plate. Clean bed around plate of any water or ink.Position sheet of newsprint on plate. Next position the blotter backing sheet, then the tympan.

6. Move press bed to start position (scraper over margin - first limit mark). Apply grease to tympan and scraper bar. Pull down press handle down to engage scraper bar.

7. Turn(engage) clutch until it clicks in. Crank plate through press.Stop at second limit point. Pull out clutch. Disengage scraper bar and tympan with spatula. Pull press bed back to start.

8. Remove tympan and backing sheet. Carefully lift print from plate with one hand while simultaneously dampening plate with
sponge in other hand. It is important that the plate is never allowed to stand dry.

9. Examine proof. Decide if any modifications to the proofing process must be made.

10. Continue in this fashion until the proof appears fully inked (from 3—5 proofs).

When the plate appears to be printing properly, a critical proof is taken on better paper. If the artist is satisfied with the image, printing the edition may begin

Printing the Edition

Once the artist is satisfied with the critical proof, printing begins on the good paper.
When printing the edition, attempt to duplicate as much as possible the set of actions from rolling to sponging, etc.
Be attentive to any changes which appear on the plate or in the the print and respond immediately, if necessary, to prevent a permanent change of the image on the plate.

When editioning is finished, roll —up the plate as if to pull a print, fan dry, talc and gum.

Printing Problems

If image gets too dark:
1. Roll quicker and with lighter pressure
2. Reduce amount of ink on ink slab
3. Change to a stiffer ink ( add magnesium carbonate)

If image is not dark enough
1. Check for over-sponging (too much water on plate)
2. Roll slower and more deliberately
3. Add ink onto slab
4. Change to a softer ink ( add varnish )
5. Pull a few proofs

TOP HOME

LITHO CHECKLIST - Outline of all the steps from start to finish

1. Preparation
cut plate to size if necessary
counteretch
blot / fan dry
plan size of print
put gum border (inch and one half margin)
Option: store

2. Draw

3. ProcessingÐFirst Etch
talc / polish
gum
gum etch(s)
blot / buff down etch coat until dry and smooth
If buffed etch coat is streaked or uneven, apply pure gum and blot/buff down again.
Option: store

4. ProcessingÐWash Out/Roll-Up
lithotine ( to dissolve drawing)
asphaltum ( ink base )
water ( to dissolve gum coat)
roll-up ( keep plate damp )
fan dry ( when fully inked )

5. ProcessingÐSecond Etch
talc / polish
gum
gum etch(s) Adjust if necessary
blot / buff down etch coat until dry and smooth
If buffed etch coat is streaked or uneven, apply pure gum and blot/buff down again.
Option: store

6. Proof/Print
Prepare paper, roller, water bowls, etc.
lithotine ( to dissolve drawing)
asphaltum ( ink base )
water ( to dissolve gum coat)
roll-up ( keep plate damp )
fan dry ( when fully inked )
print
Immediately after removing print, dampen plate with sponge
Repeat roll up and fan dry for each print

7. After last print
roll-up as if to print
fan dry
talc/ polish
gum
blot and buff
store

TOP HOME