Dimensional Stability

I was reminded the other day of the challenges presented by working with paper. Frankly, it was a reminder I would have lived without, but I guess it was good for me. The fundamental problem is this: paper changes size. Painters have the same problem to an extent. The cotton or linen substrate that they paint on absorbs moisture from [...]

Carborundum Print

A couple of months ago, I wrote about some experimentation I had done with collagraphic media. Subsequently, I used the technique in a print that I have not editioned yet, and I am just finishing the editioning of a new work executed completely as a carborundum print. The process is relatively straight forward. I used Golden Heavy Acrylic Gel Medium [...]

Mise en place

Mise en place is a concept from the culinary industry. It refers to the process of preparing all of the tools and ingredients for a dish before beginning to cook. The vegetables have been portioned and chopped; the meat is cleaned and proportioned; the spices gathered; the pots and utensils gathered. In short, everything is ready and in easy reach [...]

More on wiping intaglio

Back in January I talked a bit about hand wiping intaglio plates. I have continued to use this approach and, like most things you practice, have gotten better at it. I was pulling a proof of a new engraving on acrylic in the studio today. The first photo shows the plate after it was wiped with the tarlatan. The objective [...]

Collagraph experiments

I am always on the hunt for new ways to make marks. Over the last few days I have been playing around with the use of acrylic gel mediums and carborundum (silicon carbide) grit as collagraphic media. The basic idea here is that the surface of the plate is built up with layers of texture. The resulting plate is then [...]

Wiping Intaglio

I have recently begun to hand wipe my intaglio plates.For those not familiar with the intaglio processes, in an intaglio print, the image areas are recessed below the surface of the plate. This can be done with acid (or electricity, more on that another time) for an etching or aquatint, by scratching mechanically (drypoint), or by carving yielding an engraving [...]


I spent most of the day today printing an edition of the engraving I did earlier in the week. Editioning is an essential part of the art of printmaking. The idea is to make each print as nearly identical as possible. The edition begins with the bon à tirer (from French for 'good to pull'). This is a proof that [...]