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Finally, a print I like. Still some things wrong with it but I think I like this better than the aluminium etching. It's nearer how I wanted it to be, at least.
This one's a drypoint on Rhenalon, printed with oil based inks (hand-mixed colour, get me!) on Fabriano Rosapina (GET ME EVEN MORE, USING THE BEST PAPER). Quite a steep learning curve despite this being my fourth drypoint now, almost resulting in table flipping. Now I know not to aim for all the burr in the world or it'll tent the paper so that it can't pick the ink up from the incised lines. Thinking about tinkering with drypoint on metal plates, for comparison. The advantage of metal drypoint is that you can scrape/burnish out any marks that are too deep, which you can't on Rhenalon. And I LIKE burnishing.
On balance, I think the selective ink removal works better for texture/tone here than the tonal/textural copper sulphate etching on aluminium plate that I did previously. And I do like using a cotton bud for highlights. I did another one with more texture using spattered Lincoln wash but unfortunately the paper was too wet and some got stuck to the plate.
Feeling a bit brighter now: have set wheels in motion to start studying for the IBMS Diploma of Expert Practice in Dissection, to formalise my dissection experience. That should give me something to do through the winter. I've also plotted the world's most convoluted journey through most of Europe for my 40th, to keep me from being at home missing a lot of my far-flung friends. Itinerary: Paris catacombs, sleeper trains, La Specola, trains through the Gotthard and Brenner passes and some time in Zurich doing this and that. Should be interesting if nothing else!
This one's a drypoint on Rhenalon, printed with oil based inks (hand-mixed colour, get me!) on Fabriano Rosapina (GET ME EVEN MORE, USING THE BEST PAPER). Quite a steep learning curve despite this being my fourth drypoint now, almost resulting in table flipping. Now I know not to aim for all the burr in the world or it'll tent the paper so that it can't pick the ink up from the incised lines. Thinking about tinkering with drypoint on metal plates, for comparison. The advantage of metal drypoint is that you can scrape/burnish out any marks that are too deep, which you can't on Rhenalon. And I LIKE burnishing.
On balance, I think the selective ink removal works better for texture/tone here than the tonal/textural copper sulphate etching on aluminium plate that I did previously. And I do like using a cotton bud for highlights. I did another one with more texture using spattered Lincoln wash but unfortunately the paper was too wet and some got stuck to the plate.
Feeling a bit brighter now: have set wheels in motion to start studying for the IBMS Diploma of Expert Practice in Dissection, to formalise my dissection experience. That should give me something to do through the winter. I've also plotted the world's most convoluted journey through most of Europe for my 40th, to keep me from being at home missing a lot of my far-flung friends. Itinerary: Paris catacombs, sleeper trains, La Specola, trains through the Gotthard and Brenner passes and some time in Zurich doing this and that. Should be interesting if nothing else!