@@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!

@@professortruszkowski Awesome! Thank you!

@@S.H-m2k You’re welcome!

😂 you noticed too :p

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)_/¯

I think so yes. Everyone knows how to pick things up

I get the UV base, made by Smalls UK, from Willox Graphics, in Vancouver. The pigment dispersions are from Kama Pigments, in Montreal.

We use Charbonnel Soft Ball Ground, applied with a roller on a hot plate.

Good luck!

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.

There is a halftone in the original laser print!

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.

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.

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.

@@professortruszkowski Thanks very much! Now it’s clear for me !

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.

Thanks for your comment. Very sorry to her about your Mum. Old school Printmaking was notorious for being necessarily toxic. Many Printmakers found themselves with illnesses, allergies, or sensitivities that were directly related to the chemicals in the Print studio, and more importantly, the very poor handling of them. To be honest, there are still many, MANY studios doing things the wrong way, in my opinion. And as an aside, women Printmakers (or anyone outside the "old boys club" often got stuck in a hopeless situation; they had to be tougher and even less worried about showing weakness than their male counterparts, which made them prone to illness and injury. But I digress.) This process uses a mix of non-toxic, and more traditional (toxic) materials. The "Sugar Lift" mixture itself is just Corn Syrup + India Ink + Dishsoap, so quite harmless. The Liquid Hardground is made by Graphic Chemical, and not the most pleasant material around, but we use dedicated ventilation to draw fumes from the workspace, as well as employ Nitrile gloves, and careful handling techniques to ensure that we don't breathe, ingest, or come in contact with anything we shouldn't. When treated with care and caution, most art materials can be used safely.

The little ruler I use is 1.5cm/15mm wide, or just under 5/8". Believe it or not, this ruler was the prize in a "Christmas Cracker" several years ago. It popped out and I was like, oh my! This is going to be perfect! If you happen to be in Canada or the US, Lee Valley Tools makes a nice 6" long, thin metal ruler that is about 1mm thinner, but does the trick nicely.

🤓

Hi, my Ettan presses have been workhorses. I’ve used them for 17 years, and they were here for at least a decade before that. They are excellent for intaglio printing generally. I don’t think they are being manufactured anymore, however. If you come across a used one in good shape, I would say go for it!

I don't really know what you mean. What is the sticky substance? Why is it sticky? Are you referring to the metal pressure cylinder?