This video was extremely helpful and well done. What can you tell me about the base that this C&P is on. I saw some wheels briefly in the video. If you have any recommendations for the base for ease in future moving please let me know. I just acquired a 10x15 new style and we would like to reconfigure the base it is on to make it, hopefully, lower than it is (it is on a pallet, I am short) and also assist future moves as it will not live in our garage forever (because I love my husband). Thanks!
@@rowdytitmousestudio Hi, I had the base custom fabricated by our Dept Technician who is a very capable welder. I like to have everything on wheels at the studio, and the C&P is no exception. I’d be happy to send you some photos and some advice if you send me an email > robert.truszkowski (AT) uregina.ca
It was purchased new in 1908 by a small newspaper that eventually became the Last Mountain Times in Nokomis, Saskatchewan, Canada. In 2013, the then - owner of the newspaper agreed to donate the press to the University of Regina. The last form printed on it was a ticket to a local town hall banquet in 1990, and it was still locked in a chase in the press. We got it back to the city, cleaned it up, ordered new rollers, and it has been getting extensive use ever since. They are such work horses!
Me has dado una de las mejores explicaciones que he visto. Por años he buscado diferentes materiales y procesos para la litografía, y en este caso foto litografía, siempre han variado ligeramente pero al final funcionan. Aquí lo grandioso es que tienes una manera muy precisa y clara de explicar! Muchísimas gracias!
@@Lauren-ily2 Yes you can, but with hard ball grounds such as this, temperature is important. A griddle with a thermostat would be ideal so you can set it (more) precisely, but even if it has a low-med-high dial or something like that, you’d probably be fine. Good luck!
Using the levigator is no joke. First time that I used one, I got a strain on my right rotator cuff (subscapularis). Felt a lot of pain inside my chest.
The 30 seconds where I explain to my students how not to hurt themselves using a heavy and awkward device they've never used before on a heavy and awkward slab of limestone is too much health and safety? ¯\_(ツ)_/¯
Another method to accurately replicate intaglio plates, without being an artist, is to Electro form them. (chemical replication) it is much much simpler than this and you wont even miss a whisker. 🤣
The Chine collé process involves the addition of the glued washi paper being printed and adhered to the heavier "backing" paper. It is in the family of Intaglio Printmaking. Regular Intaglio printing is when the plate is inked and printed to the heavier paper, directly.
That's an unusually nice litho stone, no breaks, imperfections, or hairline cracks. These days few people recognize the labor required and special qualities of stone lithography. I always tried to avoid using the old Fuchs&Lang press since the Brand press was so much better in every way.
Hi, I use either Hanco Warm Black Etching ink or Graphic Chemical Vine Black. Both are oil-based. Water-based inks will not work with this particular process.
I've been interested in lithography for awhile now but it's really hard to find a lithographic stone. The ones I'm finding are all used and battered and still really expensive. Does anybody still make them?
Hi, buying "new" litho stones is almost unheard of. I suggest you find a printmaking studio or university art programme in your area to connect with since they may have leads on good used stones or ones that someone is giving away. They might even be able to help you get an old stone nice and flat and printable again! Good luck.
0:43 Is it really necessary to remove the felts from under the roller after the work session? Since I work alone I never do it, but now I'm wondering if it's so they last longer..Thank you very much for your videos !
Well, the great thing about having your own studio and your own equipment is that you can do whatever you like! And chances are good, that the equipment and facilities won’t get beaten up quite as badly as when they are shared with 30 students. That said, the reasons for disengaging the blankets are threefold: 1. Blankets can develop flat spots if left under pressure for long periods of time, and this will affect printing. 2. Particularly after a gruelling printing session, the blankets can become damp all the way through. Disengaging them from the press, spreading them out a little and flipping them over the cylinder allows them to dry. This will extend the life of the blankets as well. 3. The various parts of an etching press are capable of exerting high-pressure, and even the most robust machinery is susceptible to wear and tear when under strain without a break. Disengaging the blankets and centring the press bed, ensure that no part of the set up is strained unnecessarily. Hope that helps! Happy printing.
I removed the “bottom” layer before applying the Puretch to the plate. The top layer is left on until after exposure and just before developing. The bottom of the film is easily identified as the underside of the natural curl in the roll.
I was there at the end of the last century. That press did not have that safety stop then. Another student got her finger in there. The press became totally off limits to everyone but very trusted students. Now even with the safety its an intimidating machine, it chugs along very much like it could pull you in and flatten you entirely without even flinching.
I'm going to be learning stone lithography in August and my instructor said we could use this technique to start with, as i don't have a lot of time to draw my image on the stone.. Im pleased you can still add sketch marks after transferring your photo. Thanks for a very clear demo.
