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 VI
Intaglio Prints Created Using Solarplates[1] - Part VI
Creator: Yvonne Boag.
Title: Nowhere Road (1998).
Print: Double exposure.
Size: 12 x 16.75 in (30.5 x 42.5 cm).
Comment [1]: Yvonne Boag created two drawings on semi-matte drafting film with lithographic crayons and graphite pencils. The two films were partially overlaid and taped together, then exposed in a vacuum frame using the double exposure technique. Inked a la poupée, this print shows the fine marks and textures that the double exposure technique can preserve.
Courtesy: Comtempory Access Gallery (Australia).
Creator: Dan Welden.
Title: Sheep Track (1997).
Print: Intaglio Print.
Size: 9 x 6.75 in (23 x 17 cm).
Comment [1]: The delicate pencil-like quality of this print was achieved with three exposures. In the first exposure, Dan Weldon "flash" exposed the plate without any transparency for a few seconds. In the second exposure he applied the aquatint screen for one minute and forty-five seconds, and for the third exposure he exposed his drawing on grained glass for a further one minute and firty-five seconds. All exposures were performed in the sun.
Creator: Beth Rundquist.
Title: Untitled (1997).
Print: Intaglio Print.
Size: 11 x 7.55 in (28 x 19 cm).
Comment [1]: Beth Rundquist worked directly on the plate with etching ink and processed the plate using the double exposure technique to create a painterly effect.
Creator: Ford Robbins.
Title: Untitled (1998).
Print: Intaglio Print.
Size: 11 x 15 in (28 x 38 cm).
Comment [1]: This image began as a very light laser transparency and using equal times for the double exposure technique gave poor results. By increasing the screen time, 1 minute 45 seconds, relative to the positive transparency time, 10 seconds, Ford Robbins achieved strong blacks in the final print.
Creator: Rita Dibert.
Title: Forbidden Fruits (1999).
Print: Photopolymer gravure print.
Size: 16 x 12 in (40.7 x 30.5 cm).
Comment [1]: This is a variation of working directly on the plate. Rita Dibert has combined direct and indirect methods. First she exposed the entire plate to the acquatint screen, then arranged her three continuous tone positives on the plate and painted around the edges of the transparencies. The plate was exposed again.
Creator: Terry Elkins.
Title: Shipwreck (1999).
Print: Single exposure intaglio print.
Size: 14.75 x 17 in (37.5 x 43 cm).
Comment [1]: Drawn with soft pencils on grained glass.
Creator: Eric Fischl.
Title: Woman with Blouse (1999).
Print: Single exposure intaglio print.
Size: 7.75 x 5.75 in (19.7 x 14.5 cm).
Comment [1]: Created with ink on acetate, the transparency was exposed once, developing areas of open bite. When inked and printed, the open bite added to the expressive quality of the print.
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 VI
Intaglio Prints Created Using Solarplates[1] - Part VI
Title: Nowhere Road (1998).
Print: Double exposure.
Size: 12 x 16.75 in (30.5 x 42.5 cm).
Comment [1]: Yvonne Boag created two drawings on semi-matte drafting film with lithographic crayons and graphite pencils. The two films were partially overlaid and taped together, then exposed in a vacuum frame using the double exposure technique. Inked a la poupée, this print shows the fine marks and textures that the double exposure technique can preserve.
Courtesy: Comtempory Access Gallery (Australia).
Title: Sheep Track (1997).
Print: Intaglio Print.
Size: 9 x 6.75 in (23 x 17 cm).
Comment [1]: The delicate pencil-like quality of this print was achieved with three exposures. In the first exposure, Dan Weldon "flash" exposed the plate without any transparency for a few seconds. In the second exposure he applied the aquatint screen for one minute and forty-five seconds, and for the third exposure he exposed his drawing on grained glass for a further one minute and firty-five seconds. All exposures were performed in the sun.
Title: Untitled (1997).
Print: Intaglio Print.
Size: 11 x 7.55 in (28 x 19 cm).
Comment [1]: Beth Rundquist worked directly on the plate with etching ink and processed the plate using the double exposure technique to create a painterly effect.
Title: Untitled (1998).
Print: Intaglio Print.
Size: 11 x 15 in (28 x 38 cm).
Comment [1]: This image began as a very light laser transparency and using equal times for the double exposure technique gave poor results. By increasing the screen time, 1 minute 45 seconds, relative to the positive transparency time, 10 seconds, Ford Robbins achieved strong blacks in the final print.
Title: Forbidden Fruits (1999).
Print: Photopolymer gravure print.
Size: 16 x 12 in (40.7 x 30.5 cm).
Comment [1]: This is a variation of working directly on the plate. Rita Dibert has combined direct and indirect methods. First she exposed the entire plate to the acquatint screen, then arranged her three continuous tone positives on the plate and painted around the edges of the transparencies. The plate was exposed again.
Title: Shipwreck (1999).
Print: Single exposure intaglio print.
Size: 14.75 x 17 in (37.5 x 43 cm).
Comment [1]: Drawn with soft pencils on grained glass.
Title: Woman with Blouse (1999).
Print: Single exposure intaglio print.
Size: 7.75 x 5.75 in (19.7 x 14.5 cm).
Comment [1]: Created with ink on acetate, the transparency was exposed once, developing areas of open bite. When inked and printed, the open bite added to the expressive quality of the print.
Reference:
[1] D.Welden and P. Muir, Printmaking in the Sun, Watson-Guptill Publications, New York (1997).
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