Lithography process발음듣기
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Lithography process
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출처 : 칸아카데미
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Male: This introduction to lithography will show the artist's drawing process, materials that are used on drawing a lithographic stone, the process of printing, and the details and subtlety that can be achieved in the printing process, as well as a close-up look at prints themselves.발음듣기
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Lithography, or stone printing, is an intricate printmaking process that revolves around grease and water resisting one another.발음듣기
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Once we've established a drawing, or grease, on the stone, we chemically treat the stone with materials like gum Arabic to establish the areas where water goes; rosin and talc, to help us through what we call an etch, or it's basically to establish the drawing down inside the stone.발음듣기
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Once the grease is pulled into the stone we can replace the drawing material with any colored greasy ink that we would like.발음듣기
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The basic drawing materials that we use from a historic standpoint are things like lithopencils.발음듣기
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The surface of a lithocrayon is such that you can use it for rubbing or for a fine line and it can be shaped, also, to fit your needs.발음듣기
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Because the stone in and of itself is receptive to water, so if I dampen the stone it absorbs the water, and it's also receptive to grease, which means it will suck the grease down in.발음듣기
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It allows me to put drawing material down and then remove it with things like razorblades, an X-ACTO knife, sandpaper, so it allows you to draw in a more sculptural way rather than having the limitations of a piece of paper.발음듣기
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It is completely open, as we call it, which means it's receptive to grease and water at this state.발음듣기
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If I were to put my thumbs on the surface of the stone, that would become image area because of the grease from my skin.발음듣기
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It's a fairly delicate drawing surface from that standpoint, but it's also a positive in the sense that every fine mark that you can put down with a greasy material will hold in that fidelity.발음듣기
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In this process it's what's called a first etch, and right after that we will remove the drawing material and apply printing ink to it, which is what's called proving the stone.발음듣기
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Now the drawing material has a small amount of talc and rosin attached to it, and it's ready to be etched.발음듣기
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What we're trying to make sure is that the whites of the stone stay that way and they receive gum Arabic, which will help them receive water later on.발음듣기
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Once the stone has begun to receive the gum into it, we can apply the acidified gum Arabic in this case, which is TAPEM.발음듣기
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That acidification with tannic acid helps keep that gum Arabic permanently bonded to the stone.발음듣기
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I'm also being very gentle at this point as to not scrub or disturb the drawing material that's on the stone.발음듣기
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Once I've etched the stone, I'll remove some of that material and replace it with fresh gum Arabic.발음듣기
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It's basically reducing the quantity of acid on the surface of the stone, so that when we buff in the gum Arabic into a very thin and even sheet, we don't run the risk of having too much acid remaining on the stone.발음듣기
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The drawing material will be replaced with asphaltum, which has also been thinned with lithotine, to create a greasy, very [anchor]-receptive base for the ink on the roller to replace it with.발음듣기
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It's not actually gone, and what you can see is a residue or a ghost image as we call it there on the surface of the stone.발음듣기
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Right now, when we buff the asphaltum down onto this, we're going to replace that drawing material, which is in effect grease sticking to grease.발음듣기
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It's the grease-loving area of the stone, or the oleophilic area of the stone accepting new grease.발음듣기
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When a stone has been etched properly you'll be able to see a fairly clear ghost image on the surface of the stone.발음듣기
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Kate will sponge that surface and I will apply ink immediately to the stone and that will bring up our image. (roller sounds) In the beginning, we're not actually interested in transferring ink to paper.발음듣기
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We're actually more interested in forcing ink into the stone so that it can start to fill up the greasy reservoir where it was.발음듣기
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Yeah, go ahead, Nance. You can see only a very small amount of ink has actually been transferred because we're starting to push ink into the stone first.발음듣기
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It's an average of four to six newsprints for any given particular stone to come up to a full inking.발음듣기
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When printing on a dampened sheet of paper, we can achieve a different tonal range based on the softness of that paper.발음듣기
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What I'm looking for when I look at this is to see if it feels as if a hand has moved across that surface with a drawing material.발음듣기
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