The Fall semester began this week and one of my courses is Printmaking III- I cannot believe how quickly time has flown. I am still very much the novice, but I do feel I have a better grip on this elusive medium. This first week of this semester I have focused upon two plates : one a relief print on lino ; the second an intaglio drypoint on copper.
I am determined this semester to achieve a better grasp of intaglio , I find it so challenging. The following are early proofs, the lino being the more successful of the two.
Artist’s Proof # I
relief print,lino on paper
plate 10″ by 12″
St Anthony of the Desert
Artist’s proof # II,
drypoint, copper plate, 6″by 8″
As I said the intaglio needs a lot of work. Given that I am determined to work solely in drypoint for this print, the “burrs” are causing me some trouble. I will this weekend rub them out, adding more marks as needed. This is when I wish I had a home press, I am burning with a desire to resolve this problem NOW!
But I must practice patience, taking deep Ujjayi breath. Printmaking is not an immediate art, at least with out a home press.
The inspiration for the relief print, which is close to complete, is the following watercolor ( a VERY immediate medium ).
Redemption of the Father
4 thoughts on “Back To Class, First Proofs”
i love both prints!! i know nothing about the medium, but they look fantastic to me, and in the intaglio, it’s hysterical to me, it looks like the double-torsoed centaur is arguing with itself over the apparent failure 😀
the maize god is excellent, i love every kernel, and the peeking ribcage is a perfect touch. it’s an excellent medium, that thick printing, for the mexican-styled gods, i think. great for the flames, too, awesome all around!!
You are so lovely to notice the details, it does appear that way, the siamese centaur does seem to be having an argument with its self/selves.
Instinctively I go for relief when dealing with Mesoamerican themes, I think it really speaks to my heart the most directly.
Just briefly, intalgio is a technique in which , using a sharp stylus you “draw” on the surface of a metal sheet, in this case copper. There are different techniques using tar like substances to ease the process but I chose to draw directly, which is called drypoint.
Anyway, it is a satisfying and yet frustrating process.
re the intaglio, just to be clear, the black is the part you draw on the sheet? i don’t understand how it shows up in the print, it seems backwards from the lino-print, right?
the arguing between the two really makes the piece for me–the humor is perfect, perfect 🙂
and i agree about the lino for the mesoamerican art, it’s supremely effective.