The Making of Prints ~

The more I learn, the more I am committed to helping to foster a broader understanding of, and appreciation for, the art of contemporary printmaking. Please visit my blog page for details on process and notes on workshops.

All the works in this collection are original, hand pulled, unique or limited edition prints.  Hover  over the image to view the captions.
 
If there are prints available you will see a price (unframed and in Canadian funds)
If you are curious about the process used in any of these works
or you wish to purchase an original print please drop me a message!

---

Intaglio Processes
In which marks (lines, dots etc.) are incised on a plate (matrix) 
by scratching, inscribing or biting with acid. 
When the plate is inked and wiped the incised marks retain the ink which can 
then be transferred to damp paper usually using an etching press.

Etching
The prints below (with the exception of the mezzotints) were created on zinc plates 
using various resists and a copper sulphate etchant. 
They are printed with Charbonnel or Caligo inks on rag papes using an etching press. 
Some incorporate chine colle layers of Japanese papers.

Drypoint
The prints below were created on plexiglass plates using etching needles, dremel and dental drills.  
They were inked with Charbonnel or Caligo etching inks.  
Some plates were then offset to gelatin plates and then printed from the gelatin plates by hand pressure. 
Others were printed with an etching press.  Some incorporate chine colle layers of Japanese papers.

Mezzotint
The prints below were created on pre-rocked copper plates.
These plates are uniformly 'pitted' in a process called 'rocking’ 
so that if ink were applied and wiped away the tiny pits would retain the ink printing a uniformly inked surface. 
Burnishers and scrappers are used on the rocked plates to smooth 
the areas of the plate bringing up the delicate tonal gradations specific to this technique.

Relief Processes 
In which marks are cut into a plate (matrix) of wood, linoleum, 
rubber or similar.
The inks are then rolled onto the surface of the plate and transferred to paper.  
The reduction relief method achieves a multicolour print using a single block 
through a series of progressive cutting, inking and printing states.
As the image builds as the block is destroyed and a reduction print can never be reprinted.

Collagraphy Process
In which... different textural materials are collaged onto a rigid surface.  
After being sealed with a varnish the plate is inked and wiped or surface rolled (or both)
 and printed to damp paper using a press.  The edition is limited to the hardiness of the plate.

Lithography Process
In which... the printmaking process revolves around the antipathy between grease and water. 
A greasy material is used to draw on a flat surface, 
(traditionally stone, and now also aluminum as well as polymer surfaces). 
The surface is then inked with a roller, and wiped with water repeatedly 
 until the ink builds up sufficiently on the surface as it sticks to the greased areas 
and is resisted on the open (wet) areas. 

Monotype Process
In which... a unique print is created on any flat rigid material that will receive and release the ink.  
In 'additive' monoype the ink is applied to the surface with brushes, rollers or other applicators.  
In 'subtractive' monotype the entire surface of the plate is inked and 
then the ink is removed in areas to create the image. 
The plate is then printed on dampened paper by hand or on a press.