Silk Aquatint: Bandana

 Over the weekend, I continued experiments with silk aquatint = this time using plexiglass as a plate, and making two different consistencies of paint so I could control more tone in the printmaking process. (See photos starting at the bottom) In previous posts about silk aquatint (here and here), I used the gloss medium & varnish/acrylic paint mixture straight up, which is a little thick and viscous.

For this new one, I made a small batch of the same, but I cut some of it 50-50 with water, so I could paint thick and thin, and layer 2-3 washes onto the screen, letting them dry in between, and then run test prints to see how much ink remained in the weave after wiping the plate. I got a better feel for it with this little portrait, so I’m prepping a bigger plate – 18×24, and using a new fabric; silkscreen.

It might be awhile before I post the 18×24, since I’m busy prepping for the San Diego Artwalk in 2 weeks. If you’re in that area on April 28 & 29, stop by booth #358 on Cedar Street.

 I learned during previous experiments with this printmaking method that the best prints (for me) come from a mixture of Akua Intaglio ink, cut 50-50 with Akua Transparent Base. If you try this, go ahead and use the ink full force, as it may work for you, but Akua is very pigment-rich, and I find that in this particular printmaking method, the halftones vary much more broadly with the transparent base mixed into the ink.

The beginnings of this print: a plexi plate with synthetic silk adhered to the surface with black acrylic paint. I did a drawing on the silk, and then began painting layers of white in all the areas I wanted the block ink to wipe away from while inking the plate to print. The white paint fills the weave of the silk, making it too slick to hold ink. Areas where the weave of the silk are still textured sold ink, and will print dark. Painting the plate is a process of “painting the light”.  :)

Read more at Fine Art: By Belinda Del Pesco