And now that #printapalooza is complete again, it’s time for signing, scoring, folding, matting, chopping, tasseling, and packaging Norton’s Cove Cards, Mini-Prints, and bookmarks! And the weather is perfect for such indoor work! 👌
Printing black cards, mini-prints, and bookmarks took two days, as there was a power outage on the 2nd day of #printapalooza, and while I did get some printing done in daylight, after a couple of hours without heat I could feel a chill creeping in, so I went home and parked myself next to the wood burning fireplace in my kitchen. Toasty…
Did you know that it takes about 3 seconds to make a perfect piece of toast by holding a piece of buttered bread inside the wood-stove on a big steel fork? 😋
Designed Spring 2013, inspired by a fantastic series of paths leading between stages and stores in Pound Cove, just a few minutes from Norton’s Cove Studio. Bookmarks are available in any ink colour on white paper for $4 each
Tracing the drawing with carbon paper facing the back of the paper, to create a mirror image.
After tracing the mirror image onto the linoleum, and making good solid linework with a brush and India Ink, much of the linoleum is removed with v or u shaped carving tools.
The plate is cleaned of any drawing materials and dirt, and inked up with a rubber brayer.
The first Trial Proof, on Canson Edition cotton fibre paper.
The same proof with watercolour added.
Second Trial Proof on specialty paper.
A reddish ink on yellow rice paper: Trial Proof # 3
This paper is rather the colour of a sculpin, with camoflage-like markings, fitting of the ultra-camoflauged sculpin. Didn’t turn out all that fab, but…
For Trial Proof # 5, I increased the pressure on the etching press and pulled a second proof from the same ink, showing the impression of the thread marks in the paper from proof # 4.
Trial Proof # 6 & 7 are printed by applying watercolour directly to the printing plate, drying, then rolling the ink over top. The dampness of the paper fibres and the pressure from the press allow the dried watercolours to release into the proof.
Today I’ll be editioning this ‘Whip Sculpin’. I’m still trying to decide how many I want to print, but I’ve narrowed down how they’ll look. Stop in the studio for a look at how they’re made, and find out which trial proof I’m using as my guide to print the edition. Alexis Templeton and I also plan to make a few platters as part of this edition by embossing clay slabs with the printing plate, an exciting technique we’ve been playing with for a while.