Home/Tag:intaglio

Paper

I really like paper (big surprise there). I'm not really sure why, but there is an appeal a sheet of heavy art paper: no creases, no marks, the feathery edge from the deckle, the subtle textures of the surface. Perhaps I am feeling the latent possibilities.   The watermark of Rives BFK A mold made cotton paper   The dominant material in paper [...]

The Aesthetics of the Edge

I have always been fairly particular about the edges of the plate in my etchings.  When the image got to the point where it didn't need to go back in the etch again, I would pull out a file and clean the edges up.  First, long strokes perpendicular  to the face to make everything nice and straight.  Then cutting a [...]

Chop, chop!

Printmaking has long tradition of collaborative art.   When making an original print, there are two distinct roles: artist and printer.  For many printmakers these two roles are combined.  The artist is also the printer.  But it doesn't have to be that way.  High quality printing requires a lot of skill and often a significant investment in space and equipment. [...]

Punch Registration

Punch registration systems use a paper punch and registration pins to align paper and plates. I have experimented with this kind of system in the past, but I like to maintain the deckle edges on my paper, so the idea of trimming off the punches after printing did not hold a lot of appeal. On my most recent woodcut, I [...]

Why printmaking?

A recent comment on Amie Roman's blog makes the claim that printmaking, as an art form 'is dead'. This was in response to an entry where she discussed reproductions vs. original prints. I have written on this topic myself. This got me thinking. Why am I a printmaker? Other than the investment in presses I mean. What was it about [...]

Staring you in the face

I had one of those little 'well of course' moments today. I have been working on an intaglio plate with some very deeply etched areas. I decided that I would add some acrylic gel / carborundum grit to these in place of an aquatint to provide some texture as well as tone. I proofed the plate this morning and noticed [...]

New work

I have been busy in the studio recently and am finally getting caught up on photographing my work. The processes used in these prints vary, but they all are 'Unseen Landscapes' of the modern world. West to Memphis - 2009 Color Woodcut on Rives BFK 14.75" x 34" (22" x 30" paper) Edition of 6 Copyright 2009, Dean Russell Thompson [...]

Artistic wiping

I was wiping a trial proof of a deeply etched plate the other day and got to thinking about the art of wiping. Much of the process of wiping is mechanical, so my mind often has time to wander. In this particular case, I was contemplating the difference between an 'artistic' wipe and a clean one.Historically some printmakers (Whistler comes [...]

The Dynamics of Wiping

I was working on printing an edition yesterday and I had plenty of time to think about how the ink, plate and tarlatan (or your hand) interact during the process.When you first start to wipe after applying the ink (I use a silicon spatula for that) you are mostly using physical means to remove the ink. I like to think [...]