There are five main intaglio processes: engraving, etching, drypoint, aquatint and mezzotint. Each creates prints with a distinct look and feel. Read more!
Handmade collagraph print using Akua Intaglio inks on BFK Rives printmaking paper Limited Edition of only 10 Printed using an etching press Paper size is 46 x 39 cms Unframed Each print is inked up differently by hand, making each one a unique artwork in itself, while some also have a little watercolour and/or coloured pencil added once dry. Numbered, titled, and signed in pencil in the traditional manner, beneath each image. PLEASE NOTE: PLEASE CHOOSE YOUR PRINT IN THE VARIATIONS TAB AS THEY ARE ALL DIFFERENT AND UNIQUE! Your unframed print will be sent carefully rolled in a cardboard postal tube, with tissue or glassine paper, and sent tracked and signed for delivery. If you'd like to buy one framed, or arrange delivery from my studio, please just get in touch, and I'll do my best to help. The last 4 images give you an idea of how it might look framed. The short video shows the collagraph plate made by cutting into mountboard, adding found papers, carborundum and glue, and then sealing this with a shellac mixture before inking it up to begin making the edition. PLEASE NOTE: THE SALE OF THIS ARTWORK OR ANY OTHER OF MY ARTWORKS DOES NOT INCLUDE THE COPYRIGHT, WHICH REMAINS THE SOLE PROPERTY OF MYSELF, THE ARTIST. PLEASE DO NOT USE ANY OF MY IMAGES WITHOUT MY PRIOR CONSENT OR KNOWLEDGE, THANK YOU.
I have collected these examples of artists' prints with chine collee to illustrate some of the many ways you can use this versatile technique, and inspire
Working alongside master printers and loving it! An intaglio printmaking workshop at Crown Point Press: so much to learn, new things to try, inspiring!
Collagraph printing plates can be made of any material - the word basically means collaged together - typically I use cardboard and carve into the surface with a craft knife - peeling away layers and scoring marks into the surface. You can add textures like masking tape or fabric/string to create ar
Dry point is the most direct form of intaglio. The artist simply takes a sharp point and uses it to scratch into the metal plate to create the image. There is quite a variety of tools that can be used for this. Here's a video of Wayne Thiebaud doing that at Crown Point Press. As you watch it pay attention to the different ways he marks the plate, from gentle to rough and in-between. He even seems to be scratching into it with a pocket knife at one point. Here's Thiebaud's print. Notice the sketchy look it has. Crown Point Press - Wayne Thiebaud - Diagonal Ridge - Drypoint Here's another print from another artist named Ingrid Ellison. Again, note the sketchy lines. Ingrid Ellision - 6"x6" copper plate etching As a preliminary assignment we will modify one of your plates from an old print with the drypoint tools. A plate being worked with a drypoint tool: Green Door Printmaking .co .uk - Drypoint on Copper Some of those lines look almost sharp. And they kind of are. The reason they catch the light like that is that as the drypoint tool is worked against the plate it creates a burr. This is just like plowing a furrow into a field. You get a groove with a tiny metal edge, a burr, sticking up along each side. When you ink the plate the ink will go into the groove but it will also go under those metal edges that follow the groove. This makes drypoint different from any other intaglio method. It looks a little different but it's also very fragile. Rough treatment will bend the bur around or even knock it off. So, you've got to be gentle when you ink and print it. For this assignment you will end up with three separate sets of prints. - An edition of three pulled from the old plate you modified. - A suite of state prints pulled as you develop the image. - An edition of five consistent prints. Before class: - Watch some intaglio/etching videos. Read. Take notes. Write down questions to ask in class. - Develop an image to print. - Have in your sketchbook: - A description of this process in your own words. - A copy of the process steps. In class: - Your matrix for this assignment will be a copper plate. - Develop your image by adding and removing with the drypoint tools. Create lines and texture using the scribe, the scraper, and / or the burnisher. Be very careful not to push the tools toward your hands. As you work you will find it necessary to use different techniques to achieve different effects. You will work the plate, print, work the plate, print, work the plate again, print again, and so on until you achieve the desired final image. Each print represents a state. Such a set of non-consistent prints is called a suite rather than an edition. Once you have the image in plate the way you want it create an edition of five consistent prints with one inch margins. For these prints, you will use only black ink. Don't underestimate how hard it will be to make a consistent edition of prints. It is hard. Inking and printing dry points has everything to do with developing an intuitive understanding which requires printing a small mountain of them. PRINTING STEPS: Remember to bevel the edges of your plate before you begin working it. Remember to degrease your plate with the whiting each time you apply a ground or etch it. If you think your plate is clean you probably need to degrease it two more times. SET UP: - Tear several sheets of newsprint and your good paper to the correct size. - Tear a couple large sheets of newsprint for protecting the press bed and blankets - Create your registration template on a sheet of newsprint. - Set up the press by loading it with your, registration template, protective newsprint, template, zinc plate, and blankets. - You should have three blankets, one thick felt blanket between two thinner wool blankets. Make sure the blankets are not hanging over the ends or sides of the press and that they will not get into the gears. - Test run everything through the press and adjust the pressure. - Make sure there are clean enough blotters laid out to dry your paper through your whole run. If the blotters are dirty they can transfer unwanted information onto your print. DO NOT GET INK ON THE BLOTTERS. - Put out enough ink to make your edition. It won't take much. Work the ink for about a minute to loosen it up. - Soak your paper in the large soaking sink in the center of the shop. - Initial your paper on the back so there will be no confusion about which paper is whose. - The water needs to be warm, not hot, not cold. - The paper needs to soak for about a minute. It won’t hurt to soak longer as you will be removing the excess water with blotters. PRINTING: - Apply a small amount of ink to your plate and work it in every direction with an inking card (A.K.A. a hunk of cardboard). Make sure it gets into all of your lines and textures but be careful not to damage the burr. - Scrape off as much of the extra ink as you can with your card and save it for reuse. - Use a phone book page to remove as excess ink until you can make out your image somewhat. - Use a tarlatan to continue wiping the plate. - When you think the tarlatan has done it's job make the last few wipes with the fat of your hand. At this point you're only grazing the surface of the plate to remove the ink from areas where you don't want it. Remember, you want to leave the ink in the burr. Just graze the plate, don't rub. Hand wiping to be the best way to finish wiping the plate because you can literally develop a feel for how the plate should be inked. - Your partner should take your paper from the sink and blot out the excess water with the blotters, register it and print it. CLEAN UP: - Take the blankets out of the press and leave them folded on top or hanging in the rack. - Recenter the press. - Clean up any ink you have left with vegetable oil and Simple Green. - Make sure you drained the soaking sink and didn't leave any paper in it. - Put any damp blotters in the drying rack. On critique day, you will have ten minutes to get ready before we begin. - Make sure you have identified your prints in pencil. Make your best print number one and the last one the print you are least satisfied with. - Hang number one from your edition of prints vertically centered at about sixty inches above the floor. Use a loop of tape on the back; do not put tape on the front of your print. This assignment will be scored based on three criteria. These criteria will be weighted and assessed as follows: 1. Concept: 5 Points. Interpretation and application of your own ideas to the assignment using expressive, emotive, and aesthetic elements. Ask yourself “What am I trying to say with this image?” “How can I visually convey my idea?” 2. Participation: 5 Points. Attendance, involvement with your group, putting in time in the shop, proper shop etiquette, participation in discussions and critiques. 3. Process: 10 Points. Display an understanding of the process, making an edition of consistent prints, registration, and general neatness of the work. - The complete assignment is an edition of prints and an artist's statement. Incomplete assignments will continue to loose points for lateness until everything is turned in. Additionally, the following will cost you a letter grade: - Fingerprints or smudges on your prints. - Failure to properly identify your prints. - Failure to turn in an artist's statement with your prints. - Prints hung after critique begins will be considered one day late.
Introducing our exquisite Polymer Photogravure Set of 3 prints, capturing the atmospheric beauty of a mystical forest in Helsinki 'This mesmerizing art piece effortlessly captures the ethereal essence of nature, bringing a touch of enchantment to any space. Crafted with utmost precision, each print boasts intricate details and a captivating color palette that will leave you spellbound. These unframed prints are perfect for those seeking a unique and eye-catching addition to their home decor. Immerse yourself in the serenity of an atmospheric forest with this remarkable set of prints. This photo polymer etching is hand pulled in an a edition of unique piece in Velvet paper, using Intaglio Printmaker etching oil based inks. It is a dramatic dark sepia colour. Each print is unique and varies as it is hand produced. Polymer photogravure is a new method in graphic art it’s an extremely adaptable process with untold possibilities just waiting to be discovered. Environmentally friendly and pleasant to work with actual size 16 x 12 cm paper size 24 x 31 cm -Unframed Art Piece Edition photo etching on Helsinki on 1998 -It comes to you carefully packed -All pieces are photoshooted & printed by me only -Only ONE PIECE available -Each print will be numbered and signed, accompanied with a Certificate of Authenticity. -This fine art edition requires framing behind glass - NOTE : EACH PIECE HAS INCREASED VALUE IN TIME PROCEDURE ************** The Photopolymer Photogravure Early masters such as Alfred Stieglitz and Edward Steichen adopted the photogravure technique to reproduce their photographic vision. A photogravure is a hand printed photomechanical print created from an etched printing plate. Also known as a photo etching, or a photo intaglio print. The original photograph becomes a beautifully textured and individual Intaglio etching, which is the resulting combination of fine art cotton papers, archival carbon based inks and the traditional etching press. In my Photogravure print practice, I use Photopolymer printing plates. The photopolymer photogravure combines digital media, industrial flexographic photosensitive photopolymer printing plates and traditional age old, etching techniques. Where the original process of copper based photogravure required hazardous acids, asphalt and environmentally unfriendly copper, the contemporary photopolymer photogravure is a low-toxic friendly technique that gives the photographer / printmaker safer work practices. UV light is used to transfer the image on to the plate and, the water-soluble polymer structure of the plates allows for etching with nothing but water. The photopolymer photogravure print highlights textures, tones, forms, light and shadows. Attributed to the raised ink lines, relief qualities and embossing trademark of this etching technique. Polymer photogravure is a new method in graphic art it s an extremely adaptable process with untold possibilities just waiting to be discovered Environmentally friendly and pleasant to work with , the polymer method is the graphic art process of the future
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50 x 70 cm
50 x 70 cm
Here's how to make an intaglio print portrait of a cat with attitude, from a recycled paper carton. Drypoint from cardboard!
Carol Hayman describes her process when working with photo intaglio plates - also called photo etching and photogravure.
You can make traditional drypoint prints from sheets of inexpensive plexiglass. Here is a how-to video tutorial, with a supply list.
There are five main intaglio processes: engraving, etching, drypoint, aquatint and mezzotint. Each creates prints with a distinct look and feel. Read more!
Suggestions of ways to making your etching printmaking practice safer - from swtiching to salt metal etching methods to using heavy duty nitrile gauntlets.
In this post I'll share my collagraph, or collograph as it also can be spelled, printmaking process with you. I'm fascinated by the unpredictability of collagraph printing…
Original Intaglio etching from zinc plate. Printed on Rives BFK printmaking paper. Various techniques include, aquatint, drypoint, hard and soft ground. Titled ‘Metamorphosis”. Numbered limited edition, 9 available. Dimensions: Image - 9x12 With paper border - 13x16
