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 and so can be removed.
For your convenience I have listed other posts in this series:
Intaglio Prints Created Using Solarplates - Part I
Intaglio Prints Created Using Solarplates - Part II
Intaglio Prints Created Using Solarplates - Part III
Intaglio Prints Created Using Solarplates - Part IV
Intaglio Prints Created Using Solarplates - Part V
Intaglio Prints Created Using Solarplates[1] - Part V
Creator: Marta Romer.
Title: Matter # 3 (1998).
Print: Single exposure intaglio print.
Size: 7.5 x 10.5 in (19 x 26.7 cm).
Comment [1]: Color photocopiers can vary in quality, but the newer machines have a good tonal range which can endow a print with soft, subtle qualities. Here, Marta Romer collaged a variety of images, including an original drawing, a photograph, and digital images, and printed them on to a transparency using color photocopier set on black and white.
Creator: Deborah Donelson.
Title: Untitled (1996).
Print: Single exposure intaglio print.
Size: 30 x 22 in (76 x 56 cm).
Comment [1]: Debra Donelson created an image on clear glass by drawing with India ink and rubber stamps. The resulting plate was printed with Gamblin Portland Black, a richly pigmented ink, which added more plate tone to the final image.
Creator: Joanna Melrose.
Title: Fundy Shore Breeze (1998).
Print: Single exposure intaglio print.
Size: 15 x 20 in (38 x 51 cm).
Comment [1]: This image originated from painting lithographic tusche on grained glass to create the subtle effects captured by this plate.
Creator: Esteban Vicente.
Title: Untitled (1996).
Print: Mixed relief and intaglio print.
Size: 18 x 12 in (45.7 x 30.5 cm).
Comment [1]: Esteban Vicente drew on grained glass with charcoal from which a single exposure intaglio plate was made and inked in black. Color was added to the image by cutting interesting shapes from scrap solarplate and inking them with rollers. These small relief plates were inked and printed separately.
Creator: William Negron.
Title: Tandem (1998).
Print: Double exposure intaglio print.
Size: 18 x 24 in (45.7 x 61 cm).
Comment [1]: Working directly on the plate with etching ink can yield very expressive prints and is a very spontaneous way of working. William Negron uses the double exposure technique to capture as much tone as possible from his painting.
Creator: Pauline Muir.
Title: Joy (1998).
Print: Single exposure intaglio print.
Size: 3 x 23.75 in (7.5 x 9.5 cm).
Comment [1]: Pauline Muir worked the plate with etching ink, inked it in intaglio and painted with monoprinting inks before printing.
Creator: Gary Wright.
Title: Return to the Womb (1996).
Print: Three plate relief and intaglio print.
Size: 11.5 x 5.25 in (30 x 13 cm).
Comment [1]: Gary Wright printed two plates in intaglio, one a solarplate and one an etched metal plate. The third plate was a relief solarplate made from a photocopy of a circuit board, and was printed with silver lithographic ink to form an overlay.
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 and so can be removed.
For your convenience I have listed other posts in this series:
Intaglio Prints Created Using Solarplates - Part I
Intaglio Prints Created Using Solarplates - Part II
Intaglio Prints Created Using Solarplates - Part III
Intaglio Prints Created Using Solarplates - Part IV
Intaglio Prints Created Using Solarplates - Part V
Intaglio Prints Created Using Solarplates[1] - Part V
Title: Matter # 3 (1998).
Print: Single exposure intaglio print.
Size: 7.5 x 10.5 in (19 x 26.7 cm).
Comment [1]: Color photocopiers can vary in quality, but the newer machines have a good tonal range which can endow a print with soft, subtle qualities. Here, Marta Romer collaged a variety of images, including an original drawing, a photograph, and digital images, and printed them on to a transparency using color photocopier set on black and white.
Title: Untitled (1996).
Print: Single exposure intaglio print.
Size: 30 x 22 in (76 x 56 cm).
Comment [1]: Debra Donelson created an image on clear glass by drawing with India ink and rubber stamps. The resulting plate was printed with Gamblin Portland Black, a richly pigmented ink, which added more plate tone to the final image.
Title: Fundy Shore Breeze (1998).
Print: Single exposure intaglio print.
Size: 15 x 20 in (38 x 51 cm).
Comment [1]: This image originated from painting lithographic tusche on grained glass to create the subtle effects captured by this plate.
Title: Untitled (1996).
Print: Mixed relief and intaglio print.
Size: 18 x 12 in (45.7 x 30.5 cm).
Comment [1]: Esteban Vicente drew on grained glass with charcoal from which a single exposure intaglio plate was made and inked in black. Color was added to the image by cutting interesting shapes from scrap solarplate and inking them with rollers. These small relief plates were inked and printed separately.
Title: Tandem (1998).
Print: Double exposure intaglio print.
Size: 18 x 24 in (45.7 x 61 cm).
Comment [1]: Working directly on the plate with etching ink can yield very expressive prints and is a very spontaneous way of working. William Negron uses the double exposure technique to capture as much tone as possible from his painting.
Title: Joy (1998).
Print: Single exposure intaglio print.
Size: 3 x 23.75 in (7.5 x 9.5 cm).
Comment [1]: Pauline Muir worked the plate with etching ink, inked it in intaglio and painted with monoprinting inks before printing.
Title: Return to the Womb (1996).
Print: Three plate relief and intaglio print.
Size: 11.5 x 5.25 in (30 x 13 cm).
Comment [1]: Gary Wright printed two plates in intaglio, one a solarplate and one an etched metal plate. The third plate was a relief solarplate made from a photocopy of a circuit board, and was printed with silver lithographic ink to form an overlay.
Reference:
[1] D.Welden and P. Muir, Printmaking in the Sun, Watson-Guptill Publications, New York (1997).
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