Loose Pigments in a printmaking context ??

This is something I have wanted to explore for ages and ages and for some reason .....I finally got round to it.


I think this was the first one. I rolled up some oil based extender onto a perspex (plexiglass) plate and then sprinkled some loose pigment powder, on to it.

I put the powder into a glass jar and then placed a double layer of tarlatan or scrim over the mouth of it (using an elastic band) . I wanted to try to eliminate little clumps and make it come out finely / lightly BUT believe me that's a lot trickier than you would imagine...!!



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This second image was what I originally had in mind when I was thinking of doing this although my overall aim, is to be able to incorporate intaglio elements with it as well.
I may not be able to 're-soak' them though, once they have been in the 'drying stack.
Perhaps the pigment wont be sufficiently 'adhered' to the paper surface??

I will have to test one to see how it behaves.
I have just included an inkjet chine colle, element with this one.





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This next one was an inkjet print of mine from ages ago which I always felt needed 'something else' to be complete. So I hastily tore a template or stencil out of some newsprint and 'masked the areas I wanted to protect. On the plate I previously rolled the pigment, into the transperent oil based extender.




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This one was done on top of another previously made proof using possibly cling film with a transparent blue ink on. Can't quite remember. It's on lightweight paper.






UPDATE  :  these prints have survived from when they were originally created - which was May 2009 Five and a half years ago now .....i.e., none of the pigment has fallen off ....they look the same now (8th February 2015) as they do in these photos.

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