Preamble
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 IV
Introduction
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.
Intaglio Prints Created Using Solarplates[1] - Part IV
It is a good idea to keep a notebook with test transparencies, the exposure times, and development details with corresponding prints for future reference.
Creator: Eric Fischl.
Title: Jumprope (1992).
Print: Intaglio Print.
Size: 19 x 15 in (48 x 38 cm).
Comment [1]: This painterly print was created by working with ink on acetate.
Creator: Lynda Benglis.
Title: Hot Spots (1999).
Print: Intaglio Print.
Size: 15 x 22 in (38 x 56 cm).
Comment [1]: Double exposure intaglio print. Lynda Benglis found that painting watercolor on tracing paper caused the paper to crinkle, resulting in a subtle pattern in the final print.
Creator: Richard Mello.
Title: Untitled (1997).
Print: Intaglio Print.
Size: 7 x 10 in (17.5 x 25.5 cm).
Comment [1]: This is an example of a positive transparency. Artist Richard Mello is just putting the finishing touches to a drawing on acetate, which is now ready for exposure.
Creator: Meredith Perrin.
Title: Dragon Pot (1997).
Print: Intaglio Print.
Size: 8.5 x 6 in (21.5 x 15 cm).
Comment [1]: Meredith Perrin likes to develop several versions of the same image before selecting one for exposure on a plate. To create the image, she photocopied an original drawing onto a transparency and then worked it further with felt tip pen and scratching back techniques.
Creator: Carol Hunt.
Title: Solar Etching (from a Suite of 15) (1993).
Print: Intaglio Print.
Size: 8 x 6 in (20.5 x 15 cm).
Comment [1]: Carol Hunt uses repeated photocopying to alter and develop the image. This process also enriches the depth of black tones.
Creator: Janet Ayliffe.
Title: Kangarilla (1998).
Print: Single exposure two-plate intaglio print.
Size: 21 x 11.5 in (53.5 x 29 cm).
Comment [1]: Janet Ayliffe tells stories through her art. To create this print, she photocopied an original drawing onto a transarency and then used drawing and scraping techniques to further work the image. This transparency was used to make the key plate. The second plate was a traditional zinc etching plate. The final print was made by printing the etching plate first, then printing the key plate to give definition to the image.
Reference:
[1] D.Welden and P. Muir, Printmaking in the Sun, Watson-Guptill Publications, New York (1997)
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 IV
Introduction
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.
Intaglio Prints Created Using Solarplates[1] - Part IV
It is a good idea to keep a notebook with test transparencies, the exposure times, and development details with corresponding prints for future reference.
Title: Jumprope (1992).
Print: Intaglio Print.
Size: 19 x 15 in (48 x 38 cm).
Comment [1]: This painterly print was created by working with ink on acetate.
Title: Hot Spots (1999).
Print: Intaglio Print.
Size: 15 x 22 in (38 x 56 cm).
Comment [1]: Double exposure intaglio print. Lynda Benglis found that painting watercolor on tracing paper caused the paper to crinkle, resulting in a subtle pattern in the final print.
Title: Untitled (1997).
Print: Intaglio Print.
Size: 7 x 10 in (17.5 x 25.5 cm).
Comment [1]: This is an example of a positive transparency. Artist Richard Mello is just putting the finishing touches to a drawing on acetate, which is now ready for exposure.
Title: Dragon Pot (1997).
Print: Intaglio Print.
Size: 8.5 x 6 in (21.5 x 15 cm).
Comment [1]: Meredith Perrin likes to develop several versions of the same image before selecting one for exposure on a plate. To create the image, she photocopied an original drawing onto a transparency and then worked it further with felt tip pen and scratching back techniques.
Title: Solar Etching (from a Suite of 15) (1993).
Print: Intaglio Print.
Size: 8 x 6 in (20.5 x 15 cm).
Comment [1]: Carol Hunt uses repeated photocopying to alter and develop the image. This process also enriches the depth of black tones.
Title: Kangarilla (1998).
Print: Single exposure two-plate intaglio print.
Size: 21 x 11.5 in (53.5 x 29 cm).
Comment [1]: Janet Ayliffe tells stories through her art. To create this print, she photocopied an original drawing onto a transarency and then used drawing and scraping techniques to further work the image. This transparency was used to make the key plate. The second plate was a traditional zinc etching plate. The final print was made by printing the etching plate first, then printing the key plate to give definition to the image.
Reference:
[1] D.Welden and P. Muir, Printmaking in the Sun, Watson-Guptill Publications, New York (1997)
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