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
Intaglio Prints Created Using Solarplates[1] - Part III
Artist and Title: Marisha Simons, Open Wide (1997).
Technique: Intaglio print with metal foil and tooth.
Size: 23 x 18 cm.
Comment[1]: High quality printing paper is strong enough to decorate and create into three-dimensional works, like this intaglio prnt to which foil and a tooth has been added.
Courtesy of reference [1].
Artist and Title: Ellen Brous, How do we get there? (1997).
Technique: Intaglio print installation.
Size: Various.
Comment[1]: This installation consists of multiple scrim hangings, each of which has been printed with a solarplate method. It shows how versatile solarplate printmaking can be.
Courtesy of reference [1].
Artist and Title: Jodie Watson, Untitled (1999).
Technique: Intaglio print installation.
Size: 12 x 9 inches (30.5 x 23 cm).
Comment[1]: The inspiration for this print comes from traditional Aboriginal body painting. The original drawing was created by rolling a thin layer of etching ink on to the plate glass, dusting with talc, and drawing into the ink with a stick to create a negative transparency. Adding talc to the ink increases the opacity and helps to retain the integrity of the drawing during the exposure.
Courtesy of reference [1].
Artist and Title: Tjungkara Ken, Seven Sisters (1999).
Technique: Intaglio print.
Size: 30.5 x 23 cm.
Comment[1]: Tjungkara Ken drew with a stick through ink on glass to create a negative transparency. She made this plate in October, near her home in Central Australia, where there was so much sunshine that the plate needed only 3 minutes exposure in the sun. Two colors were applied to the plate by using two rollers and varying the pressure when inking. The first color was applied under strong pressure , covering almost all of the plate except those portions next to the shoulder of the relief "bite" that remained uninked. The second color was applied with very light pressure, kissing only the uppermost surface of the plate. When printed both colors were transferred to the paper generating a rich and painterly effect.
Courtesy of reference [1].
Artist and Title: Mary Maynor, Rocks (1997).
Technique: Fimo clay with embossing.
Size: 8 x 8 x 8 cm.
Comment[1]: Mary Maynor used ink solarplates to emboss the surfaces of this totem.
Courtesy of reference [1].
Artist and Title: Margaret Ambridge, Self Portrait (1998).
Technique: Double exposure intaglio print.
Size: 28 x 40.5 cm.
Comment[1]: Working from a photograph, Margaret Ambridge drew with soft pencils and lithographic crayons on True-Grain, applying scraping techniques to vary textures abd modify tonal areas. The transparency was transferred to a solarplate using 18 seconds for each exposure in a commercial exposure unit.
Artist and Title: David Salle, Lanterns (1998).
Technique: Double exposue three-plate print.
Size: 40.5 x 28 cm.
Comment[1]: Each plate was made from a drawing on frosted acetate.
Courtesy of reference [1].
Artist and Title: Kathleen Aird, Possibly Maybe (1998).
Technique: Two plate intaglio print.
Size: 26.5 x 20.5 cm.
Comment[1]: Kathleen Aird drew very delicately with pencil and used the most transparent drafting, semi-matte film in order to pick up all the fine detail from her drawing. Each plate was made using the double exposure technique.
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
Intaglio Prints Created Using Solarplates[1] - Part III
Technique: Intaglio print with metal foil and tooth.
Size: 23 x 18 cm.
Comment[1]: High quality printing paper is strong enough to decorate and create into three-dimensional works, like this intaglio prnt to which foil and a tooth has been added.
Courtesy of reference [1].
Technique: Intaglio print installation.
Size: Various.
Comment[1]: This installation consists of multiple scrim hangings, each of which has been printed with a solarplate method. It shows how versatile solarplate printmaking can be.
Courtesy of reference [1].
Technique: Intaglio print installation.
Size: 12 x 9 inches (30.5 x 23 cm).
Comment[1]: The inspiration for this print comes from traditional Aboriginal body painting. The original drawing was created by rolling a thin layer of etching ink on to the plate glass, dusting with talc, and drawing into the ink with a stick to create a negative transparency. Adding talc to the ink increases the opacity and helps to retain the integrity of the drawing during the exposure.
Courtesy of reference [1].
Technique: Intaglio print.
Size: 30.5 x 23 cm.
Comment[1]: Tjungkara Ken drew with a stick through ink on glass to create a negative transparency. She made this plate in October, near her home in Central Australia, where there was so much sunshine that the plate needed only 3 minutes exposure in the sun. Two colors were applied to the plate by using two rollers and varying the pressure when inking. The first color was applied under strong pressure , covering almost all of the plate except those portions next to the shoulder of the relief "bite" that remained uninked. The second color was applied with very light pressure, kissing only the uppermost surface of the plate. When printed both colors were transferred to the paper generating a rich and painterly effect.
Courtesy of reference [1].
Technique: Fimo clay with embossing.
Size: 8 x 8 x 8 cm.
Comment[1]: Mary Maynor used ink solarplates to emboss the surfaces of this totem.
Courtesy of reference [1].
Technique: Double exposure intaglio print.
Size: 28 x 40.5 cm.
Comment[1]: Working from a photograph, Margaret Ambridge drew with soft pencils and lithographic crayons on True-Grain, applying scraping techniques to vary textures abd modify tonal areas. The transparency was transferred to a solarplate using 18 seconds for each exposure in a commercial exposure unit.
Technique: Double exposue three-plate print.
Size: 40.5 x 28 cm.
Comment[1]: Each plate was made from a drawing on frosted acetate.
Courtesy of reference [1].
Technique: Two plate intaglio print.
Size: 26.5 x 20.5 cm.
Comment[1]: Kathleen Aird drew very delicately with pencil and used the most transparent drafting, semi-matte film in order to pick up all the fine detail from her drawing. Each plate was made using the double exposure technique.
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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