VITREOGRAPHY -LITTLETON STUDIOS

A vitreograph is a print from a glass matrix. These hand-pulled prints are achieved through intaglio and / or planographic processes. Pioneered in modern printmaking by glass artist Harvey K. Littleton in 1974, vitreography has been the focus of creative and technical efforts at Littleton Studios in Spruce Pine, North Carolina since 1981.

INTAGLIO VITREOGRAPHY
The process starts with a 3/8” or 1/4” thick plate glass, commonly used for windows or shelving, that can be printed as either intaglio or planographic. Intaglio vitreographs are achieved by abrading the surface of the glass plate by sandblasting with sand or carborundum, frosting and etching with a mild caustic solution or grinding with diamond tip tools or other hard points or wheels to create recessed areas that will hold ink. Ink collects in crevices and abrasions in the plate’s surface, excess ink is wiped off and the image is transferred to a piece of damp paper when run through an etching press. The often multicolored prints are achieved by running numerous plates through the press, each holding a different color. Glass does not shatter under the pressure of the press because it is an extremely strong and resilient material under compression. However, printers must take great care to keep the bed of the press (under the plate) very clean, as even a slightly raised area - a grain of sand - can put the glass in tension and cause it to break. Glass is inert, therefore ink does not discolor due to oxidation of the plate as with metal plates. Yellows stay yellow, not green tinted.

Marking on plate:
Dremel or flexible shaft tool with diamond points.
Etching pastes—“Jack Frost.”
Sandblasting using resists such as contact paper, acrylic gel medium,
stiff litho ink, hot glue.

Printing:
Card ink onto plate.
Plexiglas scrapers with a beveled edge work well to deposit the ink.
Wipe plate as desired with tarlatan and tissue paper.
Use soaked printing paper, run though an etching press with light to heavy pressure.

SILIGRAPHY VITREOGRAPHY (planographic)
The glass plate can also be printed planographically as a siligraph, on an etching press as well, where ink sticks to some areas of the plate and is rejected by others. Planographic vitreographs are made applying a thin coating of a diluted silicone mixture over the image the artist creates on a ground glass plate with water-soluble drawing materials. The silicone is allowed to dry and the drawing is washed out from under it, creating a stencil. The plate is rolled with ink and printed. Because the silicone stencil rejects the ink, water is not necessary as a resist as it is in traditional lithography. Both intaglio and planographic processes can be used alone or in combinations of different plates.

Grain glass with a muller or small block of glass using 220 carborundum grit and water. Wash with hot water and vinegar.

Marking on Plate:
Draw with water-soluble materials.
Washes can be achieved by dissolving pencil or crayon on plate with water. A wash can also be made with sumi ink or tempera, distilled water and a little soap or photo-flo. Washes must be heat-cured with a hairdryer, heatgun or in full sunlight on a level surface.
Cover plate lightly with paper if drawing takes more than one sitting
(to avoid dust contamination).

Processing:
Mix silicone caulking with T.R.P.S. (Turpentine Replacement Paint Solvent) "synthetic turpentine" to
syrup consistency. Use approximately one teaspoon per square foot. Apply to plate and smooth over entire surface. A dried piece of silicone works best for application.
Buff down tight with lint-free towels (ex: Kimwipes) until smooth and dry.
Cure plate by allowing to dry overnight.
Wash gently with warm water and soap until water runs clean or sponge runs clear. There will be a slight tone on the matrix. Do not scrub.
Printing:
Use a hard brayer or roller (40/50 Durometer). Brayer preferred for "snap" rolling.
Prepare the ink slab. Daniel Smith Litho Black ink works well. Modify colored inks for stiffness, normally with magnesium carbonate. Alumina hydrate & Litho Varnish #8 may also be needed.
Proof several times to develop the image.
Print on intaglio press with snug but light pressure.
Paper may be damp or dry. Cold pressed paper, like Arches 88, works well dry, hot press papers may need to be dampened.
If there is scumming, rejuvenate the plate surface by spraying a light coat of Armor All, massaging and blow drying with image inked up full. Buff down tightly and re-proof.
If editioning is not finished in one day one day, roll up full and coat with Armor All Protectant and
proof again the next printing.

As with all arts and crafts, please exercise common sense with necessary precautions, using safety glasses, respirators, gloves and protective clothing when appropriate.

For further related information, cross reference:
Kerslake, Kenneth A. Vitreography
"Printmaking Today" Volume 3, Number 3 Rosemary Simmons, ed. London: Farrand Press, 1994.
Available from: Printmaking Today, 14(B) Elsworthy Terrace, London NW3 3DR, UK
Tel. +44 (0)171 722 5790

Ozelle, Veda. A Brief Guide to Siligraphy
"Hot Off The Press: Prints and Politics" Linda Tyler & Barry Walker, ed. Albuquerque, New Mexico
Tamarind Institute, 1994, pages 117-132. Volume Fifteen of "The Tamarind Papers"
Available from: Tamarind Institute, 108 Cornell Drive, SE, Albuquerque, NM 87106
Semenoff, Nik. Waterless Lithography I, II & III
"Printmaking Today" Volume 4, Numbers 1, 2 & 3 Rosemary Simmons, ed. London: Farrand
Press, 1995.
Available from: Printmaking Today, 14(B) Elsworthy Terrace, London NW3 3DR, UK Tel. +44 (0)171 722 5790

Available from Littleton Studios:
Luminous Impressions , approx. 30 minute (DVD), ©1997 Grasberg/Littleton Productions,
cost: $19.95 plus $5.00 shipping and handling
Littleton Studios
232 Eastridge Drive
Spruce Pine NC 28777-6137
USA
+(828) 688-4384
clshay@frontier.com