Відео

Thanks!!!

Thanks! For gampi paper, I would recommend The Japanese Paper Place in Toronto or Au Papier Japonais in Montreal. You can also order online from Ozu washi in Tokyo, but shipping and taxes will of course be quite expensive. And as a shameless self-promotion, I teach kitchen lithography workshops over Zoom, should you ever be interested: www.valeriesyposz.com/classes

It’s called kitchen lithography🙂

I transfer the outlines of my design to the foil using a ballpoint pen over a sketch (sometimes with carbon copy paper in between). In this way, you still need to draw the design onto the foil, using the outlines as a guide. The other method would be using acetone, but it will only work for a toner print (i.e,. a photocopy and not a print from an inkjet printer). In addition to ample amounts of acetone, it will also need pressure (like being passed through a press).

@@valeriesyposz thanks so much for your reply, I will try again

Thanks! I was trying to make it easy to understand🙂

Merci!

It’s Japanese for glue. Yamato nori is a starch based glue for chine collé.

Thanks! I’m glad you liked it.

C’est un produit Japonais, ça s'appelle Yamato Nori. C’est une colle à base d'amidon de tapioca.

What's funny for me is my roller is just a bit too large for my teeny stones! So even though I'm working with stone again, it's easier for me to use a brayer for printing.

Thank you!

If you cleaned with oil without protecting the foil with gum arabic, the rate of destruction would most likely be sped up. If you preserved the plate first and then cleaned with oil, it would print just fine.

If you maintain the foil, it will last unchanged for months. So you could print and save it and print the exact same image a month later. This experiment was all about ruining things just for fun.

The most I have done is when I printed business cards. I printed over 100 from the same foil before it started to deteriorate. At that point, the background started to pick up ink and no amount of fountain solution or re-etching could save it. I almost always print less than 20 because I have no need for large editions, not because the foil couldn't keep going.

@@valeriesyposz Right on! Thank you.

Oh and I prefer heavy duty because it's easier to avoid wrinkling.

I use a mix of litho crayons (hardness 2-5) and non-litho grease pencils.

Yes, Coca Cola

@@valeriesyposz 감사합니다^^

Lots of possibilities: bad foil, too much grease, not the right ink, contamination from sponges, etc.

@valeriesyposz Thank you for your reply. Sometimes I succeed, but sometimes I fail. The sponge has a soft ink every time I apply water. I washed the sponge with soap, but the ink didn't come off easily. Can I reuse cola? I teach students at school. So I feel very sorry if I fail. There are many cases where it smudges around one drawing. It's too difficult.

It’s akin to asking someone who paints in watercolour why they don’t use oil paint instead. While there is some correlation, the resulting aesthetics are completely different. Screen print is great in the way it is very fast and versatile to print on a variety of materials. I, personally, just prefer lithography.

It took me a few years of aluminum foil kitchen litho to get the courage to go back to stone in this manner. I am super happy I did!!!

Thanks! I had been wanting to test out a blue/pink combo.

Does it really matter?

@@valeriesyposz I’m srry

@@Boredallthetime-.- I wasn’t trying to come across as mean- I’m sorry if it sounded that way! I meant that in this context of the colour combination and shape of the person, male or female is not of much importance to me.

Thanks for the great questions! 1. If your stone is large, a levigator will be worth purchasing. If your stones are small like mine, it might not be the worth the cost, but you will still need something to move the grits over the surface of the stone for graining. A solid steel puck that will fit within your grasp is supposed to be a good option. I am trying to get myself something like that to help with the raised edges of my stones during graining., 2. I don't know. I know you can you use etching presses for plate litho, but the shape of the stone might make it difficult. If you were trying, a rubber blanket would be the best. I used to roll litho plates through the etching press with compressed cardboard backings and a thin felt. The plates didn't last as long as when printed on the litho press. I don't think I ever mastered the correct pressure for the etching press. 3. I have some japanese barens, but I prefer the solid wood for hand burnshing litho. Perhaps the bamboo covered baren for printing on extremely thin gampi paper. I sometimes use my disk baren first to make sure the print is flattened/stuck to the ink before going over with the wood. I think the speedball plastic one would do fine. 4. Anything gampi based for paper. The smoothness of the surface picks up the ink well and I love the natural tones. Masa paper is also a good choice and extremely reasonable in price. I always print on the smooth side. Inks are a combo of Graphic Chemical and Hanco. I use Setswell Compound if I ever need to loosen anything up.

The print is kitchen litho on gampi. I use Yamato nori mixed with water to back it onto BFK.

@@valeriesyposz thank you so much 😊

It’s lo-shu wash, a mixture of water, gum and soap that I applied in drops and left to dry.

Thanks!

Great question! Usually I find I don't need them. However, in terms of the conference I attended, they were definitely a must. Especially if you are adding so many people's socials over a short time, it's difficult to remember who you met. Also, it's nice to have a few sitting at the gallery by my work when I'm not there.

Unique, yes!

Thanks! I use Yamato nori, diluted with water, and the receiving paper is damp.

Thanks! I currently give online classes for basic kitchen lithography, but I am thinking of adding an advanced class that would cover topics like lo-shu wash. Just in case you’re interested, I update the schedule here: www.valeriesyposz.com/classes

The leather has a sueded finish and is supposed to retain its nap. I think there is solid wood, perhaps with a little padding before the leather? I can imagine the difficulty of cleaning lard of your leather works! I will be doing the tallow treatment again soon to put it into temporary storage. Hopefully that will help when I take it out again. And yes, you have to be careful when scraping near the seam. You can tell on mine where the seam rolled over my ink slab, but that hasn't seemed to show up in the prints. I wouldn't be choosing it for a solid flat, however, and instead using my large rubber roller that is smooth all over.

Thanks. That is a good idea!

Thanks for all the comments! I really appreciate it 😊

@@valeriesyposz ma'am I learning lithography to saw your video. Your my inspiration 🙏🙏

@@msbalboa1000 Wonderful! Are you learning through a printmaking course? Or self-study?

@@valeriesyposz I m doing bachelor's in printmaking

@@msbalboa1000 take advantage of the studio while you can! But you can always continue litho at home like me😊

I was wondering if there might be a trigger word that set off the AI monitor. Something that has a new meaning I don’t know of? Vocabulary changes all the time and I can’t keep up with the new slang.

Do you mean aluminum plates? Or something else?

😊 thank you!

Thanks!

Merci!

Yamato nori😄

@@valeriesyposz Thanks, that is the brand I’m using. Can you also suggest a ratio water:nori? I’m new using nori and found it very thick when I last tried to chine collé. Many thanks.

@@christinebelle-isle9219 I think it’s close to half and half. I don’t actually measure, I just go by look and feel.