Registered new stone using 2 small graining stones to provide external reference points for the paper (as wanted to print proofs on paper bigger than the stone). The stones were then all strapped together to keep their positions relative to each other constant.
Stone registered and ready for proofing
13 proofs were taken using newsprint, kitchen paper and Fabriano Rosepina watercolour paper and non - drying (noir a monter ink). The delicate watery tusches in the foreground printed up quite well but I had over pumiced some of the detail under the eaves on the image and was regretting my heavy handedness somewhat ! I discussed with Serena the various options in developing this image further - namely by adding colour by means of another stone/ photolithoplate/ monoprint or hand tinting with watercolour wash or by adding further tone using another stone or a photolithoplate and then adding watercolour washes. Serena showed me a copy of a wonderful book by John James Audubon 'Birds of America' - which contains 435 reproduced editions of his hand-coloured engravings which were incredible and suggested that it would be interesting to work on another stone to add more tone to the image and then hand tint the combined result.
I thus went on the hunt for a stone large enough to satisfy my requirements! Unfortunately the only one available was a one that had been kindly donated but unfortunately had n't seen the light of day for some time and was going to require some extensive graining!
Several hours later .... once the stone was grained, Serena showed us a technique of achieving a very fine polish to the surface of the stone using a Water of Ayr stone. (A hard cylindrical whetstone often used by jewellers and watchmakers - but very difficult to purchase nowadays) She recomended using this between the medium and fine graining sequences when a detailed drawing using fine nibs was planned.
Water of Ayr stone and in use below
Serena demonstrating use of Water of Ayr stone
After polishing the stone was washed, dried and then etched twice with a 1:3 diluted solution of 1:9 concentration acetic acid.
21st /22nd /28th January - Drawing on prepared stone
I wanted to use the newly prepared stone above to add extra tone to the last stone that I had been working on. The image was traced from the first stone onto red oxide paper and transferred on to the newly prepared stone. Areas that I wanted to keep the same from the first stone were masked out on the second stone with gum arabic. I worked with turpsy tusche for the dense black areas and Korns no 4 crayon on a dabber for the lighter tones. The stone was dried, chalked and etched selectively, the dark areas treated with Atzol, mid tones treated with a 50% solution of Atzol and the light very delicate areas treated with home made Gum Arabic solution. The stone was left to rest. Here's the stone before I added the dark areas (this bit saved until last as it is the most messy!
After leaving the stone for a week the drawing still looked really pale where I had used the crayons so Serena suggested rolling it with NAM (non drying ink) slowly and carefully to try and get more of the delicate areas of drawing to take. This we did and the image looked much better on the stone. It was then left for another week to soak in .....
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