P5: Lithography

Brief
Make TWO final prints out of ONE image utilizing Polyester Plate Lithography. Create a variety of combination with black ink and various papers (white, off-white).

Process/criteria
• Open subject matter
• Create a collage by combining old photographs, drawings and illustrations
• Pre-select as many images as you can (4 to 6 at least), pre-print them in black and white.
• Transfer image to plate (use copier machine in the art office)
• Make prints
• Finish presentation

Plate size: TBD
Paper size: TBD

ONE Image, TWO prints:
Black on white
Black on off-white

Presentation: Wednesday, April 27

Creating Polyester Plates using a Digital Photocopier

Many of the latest generation photocopiers are ideally suited for imaging SmartPlates. These machines give a dense toner deposit which is automatically heat-fused to the plate surface, so no additional heating is required to give a stable and editionable lithographic plate.
Inking the Plate

Some litho inks are very stiff and hard whilst others are as malleable as etching ink. Stiff inks are thought to give the best detail reproduction, but softer inks are easier to apply and give an image greater contrast. Oil-based etching inks are well-suited for printing polyester plates, but the ink may require the addition of a small amount of magnesium carbonate to stiffen it and to avoid scumming.

For a good black ink it is recommended Graphic Chemical litho ink No 1921, which has proved to be ideal for the polyester plate process. Very stiff inks are often modified with linseed oil; the litho varnish No 3, for example, will soften ink and make it easier to roll up.

Whatever the consistency, the ink needs to be worked around with a spatula for a few minutes. Scrape the ink across a 10 x 10 inch surface and then use a good roller (preferably a softer nitrile roller) to roll out the ink evenly in a criss-cross pattern. A well rolled-out ink makes a smooth sort of hissing sound while charging.
1.    Dispense some litho ink onto your inking surface.
2.    Use a circular scraping action inside the can to dispense the ink, then cover the surface inside the tin with plastic film to prevent it drying out.
3.    Modify the ink as required.
4.    Work the ink for a few minutes.
5.    Gently start rolling over the dampened polyester plate – you may need to hold down the edge of the plate to prevent it from curling over the roller.
6.    After each roll-up the plate needs to be gently re-wetted in order for the surface pores to remain ink-repellent.
It is rarely possible to charge a plate in one go. A well-charged plate usually requires the gentle and careful build up of successive layers of ink and water.

When a plate is freshly made, it may take from 4 to 10 ink and water cycles before it is fully charged with ink. However, once a plate has already printed, the surface becomes more ink loving and only a few inking-wiping cycles are needed to recharge.
Papers for Polyester Plate Lithographs

Lithographs can be printed on a wider variety of paper than etchings. Slightly textured rag paper can enhance the lithographic grainy look of the print. Successful prints can be made on wet or dry paper.

If a print looks too faint on dry paper, but the plate has been inked up correctly, often the use of moistened paper can rectify the problem. The result is a darker, crisp and clean image with more contrast than it had on dry paper. To wet the paper simply dip each sheet in water then blot off the excess. Many artists use the pronounced differences in printing on wet or dry paper to good creative advantage: printing on dry gives a grainy very lithographic look, printing on wet gives a dense impression almost like an etching.