Voy a ocupar este blog, este espacio, para compartir con ustedes mis andanzas por la web.
Todos aquellos sitios, textos, imágenes o fragmentos que son de otros pero que nos pueden servir a todos en este apasionante camino del grabado.
Otro uso de las ruletas.
"Para crear un grano sobre la superficie de una placa, lo que da como resultado un tono más oscuro en la impresión final. Se pueden aplicar distintas roulettes y moulettes para construir una imagen con distintos tonos de gris. Antes de la invención del berceau para la mezzotinta, las roulettes también se usaban para dar un tono oscuro parejo a toda la placa. En ese momento, los raspadores (scrapers) y los bruñidores (burnishers) eran utilizados para pulir la superficie de manera tal de crear diferentes valores de tonos y por ende, una imagen.
Crayon-manner (forma crayón). Primero, se aplica un barniz blando sobre la superficie de la placa. Luego se trabaja sobre el barniz blando con las roulettes y moulettes. De esta forma el barniz es perforado con muchos puntos pequeños. La placa se coloca en el ácido, y en los lugares descubiertos quedaran grabados los huecos. Esta ha sido durante mucho tiempo la forma de imitar los dibujos con crayón, de allí la denominación "
Color Viscosity-acerca del método Hayter.
In all methods of hand pulled prints it is possible to print many colors. In most instances, a means of accurate registration of the paper has been used so that colors and lines are where they belong. Color Viscosity printing does away with that concern since all of the coloration is applied to the plate prior to the printing. The system involves three aspects: 1. The levels etched or scraped into the plate. 2.The different amounts of oil added to each color. 3.The hardness or softness of the rollers used to apply the ink.
The colors usually are applied to the plate in the following manner. First, the intaglio color is applied to the entire plate and it is wiped. (The plate could be inked a la poupee with several colors using small wads of tarlatan for each color.) In this first application the ink is of a consistency- that is-- it has sufficient oil added to it that approximately a teaspoon of it on the blade of a putty knife will "run" and "break"- "run" and "break" above the glass slab, and the plate is wiped!
Second, The hard roller is charged with the runniest ink. The hardness of the rubber roller is its "durometer." Ideally, a hard roller should be 35 durometer. The soft roller should be 15 durometer. By a runny ink I'm saying thinner than cream. In fact, Hayter used to say, "Think milk and honey" when you want to remember the order of ink application. Milk on the top level and honey in the lower level. The hard roller passes over the plate with little or no downward pressure. You don't want that color to go into the lower levels.
Thirdly, the soft roller is now charged with the third color. This color is thinned with the same oil but is not as runny as the previous color. It is applied with some downward pressure so that it inks the lower level. Voila! This color does not mix with that applied previously with the hard roller. Finally, a fourth color can be applied. This color should be mixed with plate oil where the others are mixed with either thin litho oil or boiled linseed oil. It is rolled out on the glass slab as a rather thin film. The plate with its three colors on it is placed face down on the ink film and the back of the plate is struck with your hand or a soft rubber hammer. This is called "contact printing" and in this instance only the highest parts of the surface will accept the "contact" color. Now, it is ready to be placed on the press bed, the dampened paper has been brushed and waved in the air to assure only dampness- no wetness-- is carefully lowered onto the plate, the felt blankets are placed over both the plate and paper-and the press bed is cranked thru and back out. The moment of truth has arrived. The proof is in the printing.