Yes, watching your process here made instant sense, re the technique. So cool, and it reminds me of using a Conte' crayon or hard pastel on a grit surface. I like the idea of using a screen to apply the gel to the plate, and while watching, it occurred to me that it would be an ideal technique to create a custom ground on my pastel papers using either clear gesso or a commercial pastel ground (which the carborundum gel could absolutely be used for as well). I usually use a brush, or sometimes a brayer, but I don't like the uneven surface texture I get. I've done paintings on Art Spectrum paper, and it's clear now that they apply their ground with a silkscreen type method. I have a couple of questions: what is the TPI/mesh count of the mesh you're using here? I see there are several sizes available, and I wouldn't have a clue which would be the most versatile. Since it's a grit and not ink, the mesh size would have to be bigger than for other uses The other question is re the litho crayons: I see a variety available, both in terms of brands and hardness, and they're pretty affordable, but I don't see actual sets, which would be most useful - just boxes of 12 of a single hardness, such as the Korn's brand. So, if you had to choose a single hardness to start with, which would it be? I'd probably be inclined to go with the softest or next-to-softest one, like the #0 or #1 here: shop.takachpress.com/korns-lithographic-crayon/ Seriously, though - that is really amazing that you got so many pulls out of a single application of the crayon! And the resultant monotypes came out great. Thanks, Marta!
@@sonyaj66 Interesting use case for the silk screen for paper prep for pastels 🙌 I have actually bought already made screen mesh and no idea about the mesh grading, but I reckon it’s probably a medium grade, maybe something like T55? With the crayons, I actually went to a printmaking shop in London to try the crayons out and got 5 different ones, from the softest, which I think is 0, to hardest, 5 and a couple in the middle. So annoying you have to buy a whole box of just one grade! I think if you have to buy a box, it’s best to buy a box of 0 and a box of 5, then you will have a nice contrast between 2 different crayons. The difference between 1,2,3 and 4 is marginal. So glad to found the video useful, love your passion for printmaking 🤗🙌
@@CollagraphPrinting Thanks for the reply! I really love learning about these various printmaking techniques, esp. those that could easily be adapted to my studio space and without the purchase of lots of equipment or expensive supplies. One of the things I really enjoy about your channel so much is how you're experimenting with different techniques that you're either learning about yourself, or combining them in new ways, and that you share the process with us. It's joyous. I laughed when at some point in the video, you said: "I don't really have a plan, except for the color palette". Your experience and intuition have clearly replaced the need for a plan. I'm still in the "over-planning" part of printmaking, but I'm okay with that 😄🙌🏼.
Yes, watching your process here made instant sense, re the technique. So cool, and it reminds me of using a Conte' crayon or hard pastel on a grit surface.
I like the idea of using a screen to apply the gel to the plate, and while watching, it occurred to me that it would be an ideal technique to create a custom ground on my pastel papers using either clear gesso or a commercial pastel ground (which the carborundum gel could absolutely be used for as well). I usually use a brush, or sometimes a brayer, but I don't like the uneven surface texture I get. I've done paintings on Art Spectrum paper, and it's clear now that they apply their ground with a silkscreen type method.
I have a couple of questions: what is the TPI/mesh count of the mesh you're using here? I see there are several sizes available, and I wouldn't have a clue which would be the most versatile. Since it's a grit and not ink, the mesh size would have to be bigger than for other uses
The other question is re the litho crayons: I see a variety available, both in terms of brands and hardness, and they're pretty affordable, but I don't see actual sets, which would be most useful - just boxes of 12 of a single hardness, such as the Korn's brand. So, if you had to choose a single hardness to start with, which would it be? I'd probably be inclined to go with the softest or next-to-softest one, like the #0 or #1 here:
shop.takachpress.com/korns-lithographic-crayon/
Seriously, though - that is really amazing that you got so many pulls out of a single application of the crayon! And the resultant monotypes came out great.
Thanks, Marta!
@@sonyaj66 Interesting use case for the silk screen for paper prep for pastels 🙌
I have actually bought already made screen mesh and no idea about the mesh grading, but I reckon it’s probably a medium grade, maybe something like T55?
With the crayons, I actually went to a printmaking shop in London to try the crayons out and got 5 different ones, from the softest, which I think is 0, to hardest, 5 and a couple in the middle. So annoying you have to buy a whole box of just one grade! I think if you have to buy a box, it’s best to buy a box of 0 and a box of 5, then you will have a nice contrast between 2 different crayons. The difference between 1,2,3 and 4 is marginal.
So glad to found the video useful, love your passion for printmaking 🤗🙌
@@CollagraphPrinting Thanks for the reply! I really love learning about these various printmaking techniques, esp. those that could easily be adapted to my studio space and without the purchase of lots of equipment or expensive supplies.
One of the things I really enjoy about your channel so much is how you're experimenting with different techniques that you're either learning about yourself, or combining them in new ways, and that you share the process with us. It's joyous.
I laughed when at some point in the video, you said: "I don't really have a plan, except for the color palette". Your experience and intuition have clearly replaced the need for a plan. I'm still in the "over-planning" part of printmaking, but I'm okay with that 😄🙌🏼.