Intaglio 4” x 6.75”
New print. Needs title
Intaglio 11” x 7.5”
Even here, it was impossible to escape
Intaglio 15” x 11”
The final print and state proofs.
Printed in Printeresting Black ink from Gamblin.
For people in to process:
This was approached first through a wintergreen photocopy transfer of a photo - which was slightly imperfect. Then from there, hardgound etching and aquatint to get to the final state. Oh, and a little scrape and burnishing - who doesn’t like burnishing.
I tried to do this image back in 2010 at a residency at St. Michael’s Printshop. Initial plan was for a drypoint, but that never worked for me at the time, so it stalled and was pushed to the side. It was revitalized this year when I was trying to do a demo for the intro to intaglio class at Grenfell. I figured this would be the perfect example to show how the transfer works, and how to integrate with the rest of the techniques.
I feel this image fits with my older body of work, maybe because of the initial start and the idea/thought I am trying to convey with it.
Intaglio 8” x 5”
Frederic Edwin Church
I believe this would be from his 1859 expedition to Labrador, Canada
A mixture of finished and works in progress
Woman with an Arm Tattoo
Etching 27” x 36”
The MOMA had a show Lucien Freud: The Painter’s Etchings December 16, 2007–March 10, 2008.
I, of course, never got to see the show. However I have been enjoying the website designed for the show. Has a bit of information on his subject matter, technique and set up - nothing scholarly.
However it has over 75 images of his etchings with related cross references of photos and paintings. A great enlarge and zoom on the images to see the details. Really nice to be see them a bit clearer than most pics on the internet.
Ink Jet Print
18.5 x 30 in. image size
Edition of 20
Taken in St. John’s, Newfoundland, Canada. As soon as I saw it I knew it was from here. The architecture, colour and the Irving oil tanks on the Southside hills.
*I added more details to the original post and a link to his gallery.
series, on falling asleep
These are really wonderful. I had to Pm the artist Shannon LLang and ask what they were.
Etchings and aquatint with gold leaf.
She has some wonderful mark making that goes with the subject, the tones and colours are great and love the use of gold leaf. I like gold leaf a lot but very cautious about its abuse. You’ll never see it in my works but I enjoy it in hers, it works so well with the print and subject matter.
This post is informed by Black Heart Potatoes post about his recent exhaustion with his medium and desire to get back to something more organic.
Timo Lehtonen is a fine artist and senior lecturer in fine art printmaking at University of Brighton in England. I had the pleasure of meeting him through an exchange between the universities last year. A fine speaker and artist.
In a presentation he showed the above works done with yams.
Two Uncertain Animals Vair
Yam relief print 50cm x 50 cm
Two Leopards Guardant Proper
Yam print 50cm x 50cm
He mentioned using a certain yam that is very hard and great for cutting. The type of yam also relates back to his personal history as does the figures. The matrix informs the work.
Check out his work. Some wonderful prints in other print besides yams.
*I can’t believe I used the word “matrix”
What’s taters precious?