Behind the scenes:
Here are the trade secrets:
First of all, as you know, I screened a black circle onto silk (see Friday's post).
Then, time for the lettering: I used low adhesive sticky tape (Scotch Tape, in the blue and black pack) to give me a sense of the horizontals, although I guessed the interlinear space. I made a "wet palette" by lining a little porcelain dish with wet kitchen roll topped with silicone paper. This stops acrylic ink from drying out too quickly. I squeezed the ink onto the silicone. With gold Lascaux acrylic paint (Pale rich gold) and a nylon brush, I wrote the words on the left half of the piece. Every time I took a break I washed my brush and covered the ink.
The brush is Sceptre Gold II 101 Winsor and Newton #3. I will never use a sable with acrylic ink as they are too expensive and acrylic ink ruins brushes. I feel that the important features of sable over synthetic is that the large brushes are versatile in that they can come to a perfect point and still hold a large amount of watercolour. Sort of "one brush fits all". They don't have as much spring as a synthetic brush and the qualities that are desirable for brush lettering are spring, rather than holding huge quantities of colour for "washes".
My signature is on a small block of 23c gold on gum ammoniac, written in black acrylic.
The lump and the texture is the slubby silk.
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