MOKULITO 3

MOKULITO 3

Another two-plate wood lithograph has been created. This image underwent processing solely using gum, which was left to dry for three days. The outcomes were significantly superior to the initial image, which was etched using a gum acid mixture on a pre-milked, sanded board. An additional aspect of this process involved cutting out sections of the plywood to create white areas, which I found aesthetically pleasing.

The commencement of the new year has been marked by an engaging period of experimentation with wood lithography techniques. The initial works are inspired by the Girls Own series, which commenced in 2018. The first image produced utilising Mokulito is an homage to Harriet, an abolitionist campaigner, and Clara, who is credited with establishing the Red Cross association. Both works employ Luna wood, comprising two plates each, and chine collie.

Initially, some prints were produced as single-plate editions, while others were printed as two-plate colour runs. The total number of plates produced for both plates is 30, although the potential for further production remains.

First Printing

The first plate, Harriet, underwent a preliminary preparation. It was lightly sanded and drawn upon using traditional lithographic materials and tusche, wood carving instruments. Certain areas were excised from the plate. Subsequently, it was coated with liquid gum and allowed to dry for several days. The gum was subsequently washed away, and the plate was rolled up employing two colours on two sponges rollers, utilising lithographic ink. The ink exhibited a loose consistency, prompting the addition of a small amount of plate oil to enhance its quality. Furthermore, the practice of sponging the plate between rolls proved to be excessively messy, necessitating the adoption of a spray bottle between rolls.

A diverse range of printmaking papers, including wet and dry options, were employed. The decision was made to utilise dry, smooth paper, specifically BBK Rives, for the edition. Additionally, five extra works were produced for the chine collie.

Upon drying, these initial prints were superimposed upon plate number two. This key plate was produced in a manner analogous to the first plate, with the sole exception of employing only black ink. Attempts to use lithographic ink proved unsuccessful due to its stiff consistency, prompting the adoption of Aqua Black, an etching ink characterised by its ease of wiping. The studio’s warm environment facilitated the fluidity of the ink, necessitating the reversion to employing a large rubber roller, which resulted in the absence of roller marks. While some scumming occurred at the edges, this was effectively removed using a small sponge. As with plate number one, a spray bottle was employed between rolls, ensuring that the plate remained adequately moist.