Preamble
Just as a reminder, intaglio prints can be created using solarplates. Here UV light only penetrates the clear area of the transparency and hardens the polymer, whereas areas beneath the opaque lines of the drawing remains soluble [1] and so can be removed.
For your convenience I have listed other posts in this series:
Intaglio Prints Created Using Solarplates[1] - Part I
Intaglio Prints Created Using Solarplates[1] - Part II
Intaglio Prints Created Using Solarplates[1] - Part III
Introduction[1]
Ever since ancient cave people used stenciling to produce impressions on their hands there have been printmakers. The earliest known relief prints are woodcuts dating from almost 2000 years ago in China, and from the medieval period onward many innovative printmaking techniques have appeared, such as engraving, etching, drypoint, lthography, mezzotint, photogravure, screen-printing etc.
Woodcut: Saint Sebastian
Traditional intaglio printmaking involves four steps, namely:
With intaglio, the inked image originates from the grooves just below the surface of the plate. Drypoint, engraving and etching are common intaglio processes with etching being the most favored. For a simple line etching, a printmaker draws with a sharpley pointed tool through a coating of an acid-resistant ground and when the plate is immersed in the acid bath, lines and grooves are etched into the exposed metal. The ground is then cleaned off, ink is applied to the plate so it sits in the etched lines, and the excess is wiped off the surface. Dampened paper is laid on the plate, covered with felt blankets and rolled through a press with sufficient pressure to force the flexible damp paper into the grooves, thus picking up the ink and transferring the design to the paper.
Intaglio prints can be created using solar plates [1]. Here UV light only penetrates the clear area of the transparency and hardens the polymer, whereas areas beneath the opaque lines of the drawing remain soluble [1].
Intaglio Prints Created Using Solar Plates[1] - Part I
Artist and Title: Laura Stark, Passport Series IV (1995).
Technique: Two-plate intaglio print with relief embossment.
Size: 61 x 45.7 cm.
Comment[1]: Laura Stark has collaged text and images using a photocopier and transferred this to a solarplate to form the key plate. The background is a collagraph, an impression printed from a plate built from cardboard and other materials.
Courtesy of reference [1].
Artist and Title: Jo Peller, Gallery Opening (1997).
Technique: Intaglio print.
Size: 30.5 x 23 cm.
Comment[1]: This Degas-like image was created by painting with etching ink on the polymer. The plate was exposed in the sun and printed using the a la poupée inking technique.
Courtesy of reference [1].
Artist and Title: Kelly Fearing, Dark Bird in Passage Searching (1996).
Technique: Intaglio print.
Size: 45.7 x 61 cm.
Comment[1]: Made from an original drawing, enlarged on to a photocopy transparency and reworked with lithographic crayons, ink, and scraping back techniques. The plate was printed by Jerry Manson with a special mixture of Charbonnel and Graphic Chemical & Ink Co intense black, to achieve a rich deep black color.
Courtesy of reference [1].
Artist and Title: Soledad Salamé, Invisible World (1998).
Technique: Intaglio print and gold leaf.
Size: 61 x 45.7 cm.
Comment[1]: Originally drawn on acetate, this print demonstrates how solarplate can capture subtle tones and fine brush work. The artist added gold leaf after printing the image.
Courtesy of reference [1].
Artist and Title: Nick Sememoff, Contemplation (1999).
Technique: Intaglio print.
Size: 38 x 28 cm.
Comment[1]: Nick Semenoff used photocopy toner dissolved in a solvent to paint on clear acetate, and then heat set the rresulting image before creating the solarplate.
Courtesy of reference [1].
Artist and Title: Dieter Engler, Glencoe Farm V (1998).
Technique: Two plate intaglio print.
Size: 39.5 x 27 cm.
Comment[1]: Dieter Engler created the transparencies for this solarplate by painting with gouche on drafting film in an expressive manner.
Courtesy of reference [1].
Artist and Title: Brad Cushman, Cubism: Work Done by Cuban Artists (1994).
Technique: Intaglio print.
Size: 12 x 9.5 cm.
Comment[1]: To create this image, Brad Cushman collaged a photocopy of Fidel Castro's head on to the body of Pablo Picasso.
Courtesy of reference [1].
Reference:
[1] D.Welden and P. Muir, Printmaking in the Sun, Watson-Guptill Publications, New York (1997).
Just as a reminder, intaglio prints can be created using solarplates. Here UV light only penetrates the clear area of the transparency and hardens the polymer, whereas areas beneath the opaque lines of the drawing remains soluble [1] and so can be removed.
For your convenience I have listed other posts in this series:
Intaglio Prints Created Using Solarplates[1] - Part I
Intaglio Prints Created Using Solarplates[1] - Part II
Intaglio Prints Created Using Solarplates[1] - Part III
Introduction[1]
Ever since ancient cave people used stenciling to produce impressions on their hands there have been printmakers. The earliest known relief prints are woodcuts dating from almost 2000 years ago in China, and from the medieval period onward many innovative printmaking techniques have appeared, such as engraving, etching, drypoint, lthography, mezzotint, photogravure, screen-printing etc.
Traditional intaglio printmaking involves four steps, namely:
With intaglio, the inked image originates from the grooves just below the surface of the plate. Drypoint, engraving and etching are common intaglio processes with etching being the most favored. For a simple line etching, a printmaker draws with a sharpley pointed tool through a coating of an acid-resistant ground and when the plate is immersed in the acid bath, lines and grooves are etched into the exposed metal. The ground is then cleaned off, ink is applied to the plate so it sits in the etched lines, and the excess is wiped off the surface. Dampened paper is laid on the plate, covered with felt blankets and rolled through a press with sufficient pressure to force the flexible damp paper into the grooves, thus picking up the ink and transferring the design to the paper.
Intaglio prints can be created using solar plates [1]. Here UV light only penetrates the clear area of the transparency and hardens the polymer, whereas areas beneath the opaque lines of the drawing remain soluble [1].
Intaglio Prints Created Using Solar Plates[1] - Part I
Technique: Two-plate intaglio print with relief embossment.
Size: 61 x 45.7 cm.
Comment[1]: Laura Stark has collaged text and images using a photocopier and transferred this to a solarplate to form the key plate. The background is a collagraph, an impression printed from a plate built from cardboard and other materials.
Courtesy of reference [1].
Technique: Intaglio print.
Size: 30.5 x 23 cm.
Comment[1]: This Degas-like image was created by painting with etching ink on the polymer. The plate was exposed in the sun and printed using the a la poupée inking technique.
Courtesy of reference [1].
Technique: Intaglio print.
Size: 45.7 x 61 cm.
Comment[1]: Made from an original drawing, enlarged on to a photocopy transparency and reworked with lithographic crayons, ink, and scraping back techniques. The plate was printed by Jerry Manson with a special mixture of Charbonnel and Graphic Chemical & Ink Co intense black, to achieve a rich deep black color.
Courtesy of reference [1].
Technique: Intaglio print and gold leaf.
Size: 61 x 45.7 cm.
Comment[1]: Originally drawn on acetate, this print demonstrates how solarplate can capture subtle tones and fine brush work. The artist added gold leaf after printing the image.
Courtesy of reference [1].
Technique: Intaglio print.
Size: 38 x 28 cm.
Comment[1]: Nick Semenoff used photocopy toner dissolved in a solvent to paint on clear acetate, and then heat set the rresulting image before creating the solarplate.
Courtesy of reference [1].
Technique: Two plate intaglio print.
Size: 39.5 x 27 cm.
Comment[1]: Dieter Engler created the transparencies for this solarplate by painting with gouche on drafting film in an expressive manner.
Courtesy of reference [1].
Technique: Intaglio print.
Size: 12 x 9.5 cm.
Comment[1]: To create this image, Brad Cushman collaged a photocopy of Fidel Castro's head on to the body of Pablo Picasso.
Courtesy of reference [1].
Reference:
[1] D.Welden and P. Muir, Printmaking in the Sun, Watson-Guptill Publications, New York (1997).
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