{"id":57546,"date":"2017-08-07T15:54:07","date_gmt":"2017-08-07T15:54:07","guid":{"rendered":"http:\/\/sinclairashman.com\/?p=57546"},"modified":"2026-04-16T07:15:46","modified_gmt":"2026-04-16T07:15:46","slug":"moon-in-a-pewter-sky","status":"publish","type":"post","link":"https:\/\/sinclairashman.com\/?p=57546","title":{"rendered":"Moon in a Pewter Sky"},"content":{"rendered":"

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Sometimes, it’s really nice to return to a plate I’ve printed a few times before, and try something different.<\/p>\n

In this case, I wanted to combine some metallics with other warm colours. I suppose it’s part of my on\/off mission to get metallics to work consistently. Yes, I know it’s really difficult, given the cotton papers I use. It’s a trade-off, as I need to use papers that will survive the high pressure of the etching press, and to capture the detail of my heavily-textured collagraph plates. This means that the paper must be slightly damp for printing, which is not conducive to printing metallic inks, which tend to sink straight into the surface.<\/p>\n

Every so often, I try using metallic gold stirred but otherwise straight out of the jar. This usually results in a weak, wishy-washy print. However, what works a lot better is a mix of the metallic with a similar-toned colour. For gold, this means something like yellow ochre. I also dab or stipple the gold on top of an existing ink covering, which gives the metallic some substance and depth to sit on.<\/p>\n

Anyway, here’s one of two unique prints I have recently made. It’s still a hit-and-miss affair, but when, like here, it does work, it can be beautiful. I’m calling this one ‘Moon in a Pewter Sky’.<\/em><\/p>\n

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Find all my posts\u00a0about Art Printworks stories on Twitter at:\u00a0#artprintstories<\/a><\/strong><\/span><\/p>\n