This latest experiment was about getting a contact print through an immersion in a cold dye, in this case tea. I used two strips of dry folded kozo paper that I had previously drawn on with sumi ink; one piece was held together with a metal bull dog clip. A stack of dry printmaking paper was interlaid with leaves and seeds, then sandwiched between two sheets of perspex and clipped together with paper clips. All three packages were immersed in the tea dye container for a few hours. The darker dye (caused by the metal clip in the tea) remained in situ around the bundle while the liquid was motionless. As I removed the papers I could see the reaction of the iron on the tea slowly take place over the rest of the dye and turn it completely black.
The kozo paper was squeezed in the hand when taken out of the tea dye to get the lovely ’embossing’ (the photo does not really do it justice). I am very pleased with the abstract nature of the results, even though the plant material left little in the way of images on the printmaking paper, but there are some impressions – a trace of the leaves on some sheets. There are also a few traces of other colours from the plant material. Some of the seeds left a darker spot on the paper.
There is a tension here (freedom and control) between allowing enough moisture into the stack and the pressure required to achieve images of the plant material. Perhaps the paper in the stack should have been damp which might have allowed more wicking of the dye. Needs more investigation.
Some of the tonal variation occurred as the printmaking paper was removed from the stack. I tried to restrict disturbing the remaining dye but some of this did happen of course! The printmaking paper has much value as a base layer for further work.