Tim takes out the large roller . It is about 8 inches in diameter. He brings a piece of paper that has already been solidly printed in one color over to the table next to the press. Usually he leaves it to dry over night, but we don’t have time. It has been drying about three hours. He touches the paper with his forearm and the heel of his hand. Then he leans over and touches it with his cheek.
“I think its OK,” he says. The dampness registers on his cheek, not too wet, just dry enough. A myriad of calculations run through his mind. The plate we will be printing on top of this will be double inked to bring out the darkness in one area. Too much ink and the paper may reject the ink. But if the paper is too dry, it won’t hold the ink either. Its all a matter of tack. And that is what Tim is feeling for with his cheek.
Tim uses the large roller to fill in the spidery lines of my drawing. In areas where I thought I had covered the plate in rich black, the ink fooled me and the area appears too mottled. Tim is trying to fill in the areas that I object to. But then he points out that modulation of the line and color is a desirable thing in printmaking. It is evidence of the artist’s hand and prevents the process from appearing mechanical.
He runs a burnisher around the deckle edge of the paper, pressing it into the ink.
Tim squeezes his sponge onto the plate. It deposits just enough water for him to wipe the whole surface — up and down, back and forth. He runs his fingers around the perimeter of the printed area and picks up any errant ink. He inks the plate one more time and wipes it down again. Then he picks up a sheet of paper with another sheet of newsprint on the back and he snaps the holes he has punched at one end of the paper into the grommets that are imbedded in the plate, and lets the newsprint drop over the join.
A plastic sheet with slight slicks of grease on it, is laid over the paper. Tim pushes a button and the plexiglass, newsprint, inked paper, metal plate and supporting litho-stone, slide through the press; the small amount of grease easing the way. He presses the button again and the pressure on the scrapper bar releases; the print and supporting surfaces slide out from under its pressure. Tim lifts the plexi-glass and pulls the print off of the registration pins and peals it back from the plate. He flips the print over so that the newsprint is on the bottom and walks it to the wire drying rack, where it will remain until another plate in another color is printed over it.
I had drawn four different plates, each was intended to be printed in a different color. But today, I selected two that we will print in black. Each has areas of half-tone, some of these overlap with the other plate. This creates a sense of depth. The solid background color now appears to have many different values. The areas with no black are popping forward.
Tomorrow we will print another plate, this time in white, to further bring out the highlights in the print. While I don’t want or expect the prints to be just like the original painting, I do want it to have the same feel. In an effort to get that quality, I have already redrawn the plates once. I ran through two completely different approaches to the prints and the way the colors were used. Once I saw all of them hanging together, I felt that I hadn’t quite achieved the quality I was after. Each print was interesting in its own right, but there was a quality in the original painting that I felt could still be teased out of the prints. What I want, as with the painting, is for the image, which came originally from an almond tree, to appear both realistic and completely abstract. I don’t want them to look like the painting, but I do want them to have a similar feel.
In my effort to make the image look realistic, the most important thing was to bring light into the print. Prints, like watercolors, achieve light through completely different means than painting. Today was my chance to learn that.