Cariboo Stone Press
Roy Tomlinson
Stages in the process of Lithograph #140
All work is shown on the stone - refer to Proofing for printed results
Back to Printmaking - Roy Tomlinson

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Registration pins are shown - Cariboo Stone Press
A tusche wash provides the basis for the development of a Tomlinson lithograph - Cariboo Stone Press
Tracing the dried wash outline to mylar film - Cariboo Stone Press
Pressing or 'calandering' editon paper - Cariboo Stone Press
Punched paper registration tabs - Cariboo Stone Press
The yellow elements inked on stone - Cariboo Stone Press
The same stone with yellow elements removed and red elements inked - Cariboo Stone Press
A freshly grind stone is stopped out with gum arabic - Cariboo Stone Press
Textured gum spatter is applied - Cariboo Stone Press
An ink base (asphaltum) is applied - Cariboo Stone Press
Two colors rolled out with a 10
The initial 'Key' wash drawing after processing - Cariboo Stone Press
The element for the next printing are traced from a mylar master to the stone - Cariboo Stone Press
A crayon drawing of additional red elements including overdrawing - Cariboo Stone Press
The image inked in red prior to running the edition - Cariboo Stone Press
Detail of crayon drawing on stone with elements to print in blue - Cariboo Stone Press
Press room with printing image on the press bed - Cariboo Stone Press
Inked image on stone prior to brown press run - Cariboo Stone Press
A proof is pulled from the brown inked image - Cariboo Stone Press
A background image rubbed-up in asphaltum - Cariboo Stone Press
Mixing ink for the slab - Cariboo Stone Press
Green and ochre ink is applied side by side on the inking slab - Cariboo Stone Press
The two colors green and ochre are blended - Cariboo Stone Press
The charged roller is transferred to the dampened stone and passed over the image - Cariboo Stone Press
The black image elements are drawn in from using a water tusche - Cariboo Stone Press
The image on stone being charged with a black-toned ink - Cariboo Stone Press
Edition paper is placed over the inked image - Cariboo Stone Press
The press bed has completed its forward movement - Cariboo Stone Press
The final plate to be printed in the making of this complex Tomlinson lithograph - Cariboo Stone Press
The finished edition is racked to dry - Cariboo Stone Press
The curator matches all examples - Cariboo Stone Press
The artist titles, signs and numbers each example - Cariboo Stone Press
Cariboo Stone Press 'chops' each example with its registered blind stamp - Cariboo Stone Press
The final proof - Cariboo Stone Press

 

The Art and Craft of Lithographic Printmaking
     

The artist is an illusionist, a modern day shaman if you will.  Usually the performance of creating art goes unwitnessed, a solitary endeavour; however in the field of printmaking collaboration between both artist and craftsman/printer is a key component, the process by which a print is made as important as the end result.  When the practitioner of lithography, aspires to become both the sorcerer and the apprentice, can either succeed?  I have spent the better part of two decades defining this question, and in collaboration with fellow artist and wife Olga, seeking its answer while performing this dual role.  How well we have succeeded lies locked within the fibre of the images themselves and the ancient limestone, the dark carbons, and bright inks with which we create those images.
    Roy Tomlinson

 


Tomlinson Studio/Gallery
Tel: 1.250.593.4527
Website: www.tomlinsonart.com    E-Mail:  tomlinsonart@bcinternet.net
Copyright:  All works viewed are protected under copyright law.  Any transmission or reproduction without the written consent of the artist involved is strictly prohibited.