INTAGLIO TECHNIQUE Intaglio, Meaning
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AQUATINT: OPENING TIMES: Monday - Friday: 9:30 -18:30 PRINTING in SHADES Saturday - Sunday: 12:00 - 18:00
A Q U A T I N T : P R I N T I N G I N S H A D E S GILDEN’S ARTS GALLERY 74 Heath Street Hampstead Village London NW3 1DN AQUATINT: OPENING TIMES: Monday - Friday: 9:30 -18:30 PRINTING IN SHADES Saturday - Sunday: 12:00 - 18:00 GILDENSARTS.COM [email protected] +44 (0)20 7435 3340 G I L D E N ’ S A R T S G A L L E R Y GILDEN’S ARTS GALLERY AQUATINT: PRINTING IN SHADES April – June 2015 Director: Ofer Gildor Text and Concept: Daniela Boi and Veronica Czeisler Gallery Assistant: Costanza Sciascia Design: Steve Hayes AQUATINT: PRINTING IN SHADES In its ongoing goal to research and promote works on paper and the art of printmaking, Gilden’s Arts Gallery is glad to present its new exhibition Aquatint: Printing in Shades. Aquatint was first invented in 1650 by the printmaker Jan van de Velde (1593-1641) in Amsterdam. The technique was soon forgotten until the 18th century, when a French artist, Jean Baptiste Le Prince (1734-1781), rediscovers a way of achieving tone on a copper plate without the hard labour involved in mezzotint. It was however not in France but in England where this technique spread and flourished. Paul Sandby (1731 - 1809) refined the technique and coined the term Aquatint to describe the medium’s capacity to create the effects of ink and colour washes. He and other British artists used Aquatint to capture the pictorial quality and tonal complexities of watercolour and painting. -
Glossary of Flexographic Printing Terms
GLOSSARY OF FLEXOGRAPHIC PRINTING TERMS AA: Authors Alterations, changes other than corrections, made by a client after the proofing process has begun. AA's are usually charged to a client as billable time. Abrasion: Process of wearing away the surface of a material by friction. Abrasion marks: Marks on a photographic print or film appearing as streaks or scratches, caused by the condition of the developer. Can be partially removed by swabbing with alcohol. Abrasion resistance: Ability to withstand the effects of repeated rubbing and scuffing. Also called scuff or rub resistance. Abrasion test: A test designed to determine the ability to withstand the effects of rubbing and scuffing. Abrasiveness: That property of a substance that causes it to wear or scratch other surfaces. Absorption: In paper, the property which causes it to take up liquids or vapors in contact with it. In optics, the partial suppression of light through a transparent or translucent material. Acceptance sampling or inspection: The evaluation of a definite lot of material or product that is already in existence to determine its acceptability within quality standards. Accelerate: In flexographic printing, as by the addition of a faster drying solvent or by increasing the temperature or volume of hot air applied to the printed surface. Electrical - To speed rewind shafts during flying splices, and in taking up web slackness. Accordion Fold: Bindery term, two or more parallel folds which open like an accordion. Acetone: A very active solvent used in packaging gravure inks; the fastest drying solvent in the ketone family. Activator: A chemistry used on exposed photographic paper or film emulsion to develop the image. -
Private Collection of Camille Pissarro Works Featured in Swann Galleries’ Old Master-Modern Sale
FOR IMMEDIATE RELEASE Contact: Alexandra Nelson October 14, 2016 Communications Director 212-254-4710 ext. 19 [email protected] Private Collection of Camille Pissarro Works Featured in Swann Galleries’ Old Master-Modern Sale New York— On Thursday, November 3, Swann Galleries will hold an auction of Old Master Through Modern Prints, featuring section of the sale devoted to a collection works by Camille Pissarro: Impressionist Icon. The beginning of the auction offers works by renowned Old Masters, with impressive runs by Albrecht Dürer and Rembrandt van Rijn. Scarce engravings by Dürer include his 1514 Melencholia I, a well-inked impression estimated at $70,000 to $100,000, and Knight, Death and the Devil, 1513 ($60,000 to $90,000), as well as a very scarce chiaroscuro woodcut of Ulrich Varnbüler, 1522 ($40,000 to $60,000). Rembrandt’s etching, engraving and drypoint Christ before Pilate: Large Plate, 1635-36, is estimated at $60,000 to $90,000, while one of earliest known impressions of Cottages Beside a Canal: A View of Diemen, circa 1645, is expected to sell for $50,000 to $80,000. The highlight of the sale is a private collection of prints and drawings by Impressionist master Camille Pissarro. This standalone catalogue surveys Impressionism’s most prolific printmaker, and comprises 67 lots of prints and drawings, including many lifetime impressions that have rarely been seen at auction. One of these is Femme vidant une brouette, 1880, a scarce etching and drypoint of which fewer than thirty exist. Only three other lifetime impressions have appeared at auction; this one is expected to sell for $30,000 to $50,000. -
Materials for Printmaking
A COMPARATIVE STUDY. OF CONVENTIONAL AND EXPANDABLE ACIn RESISTANT STOPOUT MATERIALS FOR PRINTMAKING A Creative Project Presented to The School of Graduate Studies Drake University In Partial Fulfillment ot the Requirements tor the Degree Master ot Fine Arts by Lyle F. Boone January 1970 A COMPARATIVE STUDY OF CONVENTIONAL AND EXPANDABLE ACID RESISTANT STOPOUT MATERIALS FOR PRINTMAKING Lyle F. Boone Approved by Committee: TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION • • • • • • • • • • 1 The problem • • • • • • • • • • • 1 Definitions of terms used • • • • • • • • 2 Lift-ground • • • • • • • • • • • 2 Ground • • • • • • • • • • 2 Rosin • • • • • • • • • • • 2 Stopout • • • • • • • • • • • • 3 Procedure • • • • • • • • • • • • • 5 II. THE CONVENTIONAL METHOD OF STOPPING OUT • • • 7 Conventiona.1 Uses of Shella.c Stopout with Ha.rd and Soft-ground • • • 8 Conventional Use of' Shellac Stop,·ut with Aqua.tint • • • • • • • • • 13 Conventional Materials for Li.ft-ground • • 18 III. NON-CONVENTIONAL METHODS OF USING EXPANDABLE ACID RESISTANT STOPOUT MATERIALS • • • 22 Non-conventional Stopout with Ha.rd and So.ft ground • • • • • • • • • • • 24 Non-conventional Materials for Aquatint • • • 26 Non-conventional Materia.ls with Lift-ground • • 29 IV. CREATIVE APPLICATION OF FINDINGS • • 38 v. CONCLUSION • • • • • • 52 BIBLIOGRAPHY • • • • • • • 54 LIST OF FIGURES FIGURE PAGE 1. Print Containing Hard and Soft-ground Etching, Aquatint, Copper, Size 8" x 11-1/2". • • • 12 2. Area Indicating Shellac Breakdown, Containing Hard and Soft-ground Etching, Aquatint, Zino, Size 8" x 6" • • • . • • • • • 14 3. Aqua.tint, Hard and Soft-~round Etching on " ff - Copper, Size 8 x 12 •••••• • • 15 4. Print Containing Lift-ground, Aquatint, Hard ft ft ground Etohing, Copper, Size 4 x 6 • • • 20 Print Containing Aquatint, Copper, Size 4 tt x 5" 7. -
A Student Guide to the Use of Soft Grounds in Intaglio Printmaking
A STUDENT GUIDE TO THE USE OF SOFT GROUNDS IN INTAGLIO PRINTMAKING Submitted by Lori Jean Ash Department of Art Concentration Paper In partial fulfillment of the requirements for the degree of Master of Fine Art Colorado State University Fort Collins, Colorado Summer 1984 TABLE OF CONTENTS page List of Illustrations ••••••••••••••••• ii A Student Guide to the Use of Soft Ground in Intaglio Printmaking I. Introduction •••••••••••••••• ........................ 1 II. Materials and Methodology •••••••••••••••• 7 III. Conclusions•••••••••••••••••••••••••••••••••••••••••• 22 Endnotes. • . • . • • . • . • . • . • . • • . • . • • • . • . 23 BibliographY••••••••••••••••••••••••••••••••••••••••••••••••••• 25 ii LIST OF ILLUSTRATIONS page Figure 1: Rembrandt van Rijn, Self Portrait by Candlelight •••••• 3 Figure 2: Jaques Callot, The Lute Player •••••••••••••••••••••••• 4 Figure 3: s.w. Hayter, Amazon ••••••••••••••••••••••••••••••••••• 6 Figure 4: Mauricio Lasansky, Dachau ••••••••••••••••••••••••••••• 19 Figure 5: Mauricio Lasansky, Amana •••••••••••••••••••••••••••••• 20 Figure 6: Mauricio Lasansky, Study-Old Lady and Bird •••••••••••• 21 I. INTRODUCTION With the possible exception of drypoint and engraving, all intaglio processes involve the use of some type of ground. Though this acid resistant material has many applications, it has but one primary function, which is to protect the plate surface from the action of the acid during the etch. The traditional hard etching ground is made from asphaltum thinned with gum turpentine and forms a hard, stable surface suitable for work with a etching needle or other sharp tool. Soft ground has had some agent added to it which prevents it from ever becoming completely hard. It adheres to whatever touches it and can be easily removed from the plate by pressing some material into the ground and then lifting it, exposing the plate in those areas where pressure was applied. -
Altered Landscapes Will Capture the Spirit of Las Vegas’S Perpetual Reinvention and the Fallacy of Its Promises
ANNUAL CONFERENCE WEDNESDAY - SATURDAY, APRIL 4 - 7, 2018 LAS VEGAS, NEVADA CONTENTS SGCI President Welcome . .3 Thursday, April 5 at Bally’s . .37 Friday, April 6 at Bally’s . 41 Welcome Letters. 5 Friday, April 6 at 5th Street School . 45 SGCI 2018 Conference Abstract . .6 INKubator Sessions. .47 Schedule . 7 Thursday, April 5 . .47 Wednesday, April 4 . .7 Friday, April 6. 50 Thursday, April 5 . .8 Career Mentor Sessions . .55 Friday, April 6. .10 Saturday, April 7 . 14 Themed Portfolios . .57 Sunday, April 8. 15 SGCI Exhibitions . .70 Awards & Speakers. 17 All That Glitters. 70 Jaune Quick - To - See - Smith . 17 Silent Auction. 71 Dennis O’Neil. 18 Exhibitions. .73 Melanie Yazzie. 19 Las Vegas Downtown & Arts District . .73 Beth Grabowski . 20 5th Street Schoolhouse. .73 Jasmine Williams. .22 Chamber Gallery . .75 Louise Fisher . .22 Nevada Humanities . .77 Emmett Merrill . .23 Priscilla Fowler Fine Arts . .78 William L. Fox. 24 Test Site Projects . .79 Jim McCormick . 24 University of Nevada - Las Vegas .. 81 Susan Boskoff . .25 Archie C. Grant Hall. 81 Chris Giunchigliani . .25 Dr. Arturo Rando Grillot Hall. .82 Bobbie Ann Howell. .26 Donna Beam Fine Arts . 83 Maureen MacNamara Barrett. .26 Marjorie Barrick Museum of Art. 86 Demonstrations . .29 College of Southern Nevada . 88 Thursday, April 5 at Bally’s . .29 Maps & Way-Finding . 91 Friday, April 5 at Bally’s . 30 Bally’s Convention Floor. 91 Friday, April 5 at UNLV . .32 2018 Vendors, Publishers, Programs Fair. .92 Tinker Town. .35 Friday, April 6 Bus Loop . 94 Panel Discussions . .37 UNLV Campus . 96 Acknowledgements. .98 2 WELCOME FROM THE SGC INTERNATIONAL PRESIDENT Dear SGC International Members: On behalf of the board of SGC International, it is my pleasure to wel- come you to Las Vegas for our annual conference! We are so happy that you’re here to contribute to our vibrant printmaking community. -
Printmaking Through the Ages Utah Museum of Fine Arts • Lesson Plans for Educators • March 7, 2012
Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Table of Contents Page Contents 2 Image List 3 Printmaking as Art 6 Glossary of Printing Terms 7 A Brief History of Printmaking Written by Jennifer Jensen 10 Self Portrait in a Velvet Cap , Rembrandt Written by Hailey Leek 11 Lesson Plan for Self Portrait in a Velvet Cap Written by Virginia Catherall 14 Kintai Bridge, Province of Suwo, Hokusai Written by Jennifer Jensen 16 Lesson Plan for Kintai Bridge, Province of Suwo Written by Jennifer Jensen 20 Lambing , Leighton Written by Kathryn Dennett 21 Lesson Plan for Lambing Written by Kathryn Dennett 32 Madame Louison, Rouault Written by Tiya Karaus 35 Lesson Plan for Madame Louison Written by Tiya Karaus 41 Prodigal Son , Benton Written by Joanna Walden 42 Lesson Plan for Prodigal Son Written by Joanna Walden 47 Flotsam, Gottlieb Written by Joanna Walden 48 Lesson Plan for Flotsam Written by Joanna Walden 55 Fourth of July Still Life, Flack Written by Susan Price 57 Lesson Plan for Fourth of July Still Life Written by Susan Price 59 Reverberations, Katz Written by Jennie LaFortune 60 Lesson Plan for Reverberations Written by Jennie LaFortune Evening for Educators is funded in part by the StateWide Art Partnership and the Professional Outreach Programs in the Schools (POPS) through the Utah State Office of Education 1 Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Image List 1. Rembrandt Harmensz van Rijn (1606-1669), Dutch Self Portrait in a Velvet Cap with Plume , 1638 Etching Gift of Merrilee and Howard Douglas Clark 1996.47.1 2. -
Cat Talogu E 61
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books Catalogue 61 [The Alternative of Williams Burg.] A New Method of Macarony Making, as Item 288 practiced at Boston. Item 289 All items listed are illustrated on our web site: www.grosvenorprints.com Registered in England No. 1305630 Registered Office: 2, Castle Business Villlage, Station Roaad, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Elliis. E&OE VAT No. 217 6907 49 1. Drawings from Original Pictures of Boswell and Dr.Johnson. While Cox's name is on Philip Reinagle, Esq. R.A. No. 2. Mrs these pieces he would have had to depend on skilled Wrightson (subscriber's name in craftsmen to produce the elaborate exhibition pieces contemporary ink mss]. that can now be seen in the Metropolitan Museum of By an Amateur. [n.d., c.1826.] Art. A spectacular survivor of Cox's Museum is a Imperial folio, original printed wrappers, four Peacock that was taken to St. Petersburg in 1781 and is lithographic plates on india, stitched. Wear to edges. now in the Hermitage. British Library: 000807157 Stock: 40010 £280 Four untitled British landscape scenes presented in their original wrapper, apparently the complete second 4. The Duke of Bedford's Stables, with the installment of what became a series of 16 plates after New Tennis-Court & Riding-House at Woburn Reinagle. We have seen another wrapper with the Abbey subscriber's same in the same handwriting, suggesting [Anon, c.1750] it was written by the anonymous 'Amateur'. -
DRYPOINT-WOODCUT Always Loved Those Images, and I Wanted to a Certain Amount of Unpredictability Learn from Cassatt’S Process,” Heck Says
that use the symbol of the heart to explore ideas of love and emotion. A somewhat similar approach is taken in the recent Printmaking series “Fascinators,” in which Heck adorns A passion for printmaking unites these four accomplished artists, who her young subjects with headpieces shaped like Möbius strips. each work with a different process. Heck’s work combines two traditional printmaking processes: drypoint, an intaglio process, and woodcut, a relief process. In BY AUSTIN R. WILLIAMS intaglio processes—such as engraving, etch- ing and drypoint—marks are carved into a Printmaking is drawing’s first cousin. In both metal plate using one of several methods. disciplines artists work directly with their hands Those indentations are filled with ink, and to create lines and tones, ultimately resulting in a when the plate is pressed to paper, the ink is finished work on paper. But printmaking involves transferred to the paper. In relief processes, an additional array of tools and techniques that have such as woodcut and linocut, the opposite occurs. In these methods the artist carves fascinated artists for centuries. Every printmaking process offers its own sort of beauty while also away the negative parts of the image and ink imposing certain constraints on the artist. Here we TODAY is applied to the remaining, raised portions explore the work of four printmakers, who share their of the plate, which is then pressed to paper. thoughts on their chosen printmaking processes. Heck was inspired to combine intaglio and relief processes by Mary Cassatt (1844– 1926), who in the late 1800s produced color ELLEN HECK: etchings inspired by Japanese woodcuts that had recently been exhibited in Paris. -
"General Print Mint" For
FOR ESTABLISIUWO, BY ACT OF CONOREBS,NOTA OWN 'MD4T, FOR THERE IS ONE ALREADY, BUT A W.3LUHOTON FOR THE EMISM9N OF PArkE MO r TO THE AMOUNT flRHAP& OF. - H TO 3Z SOUnDED UPON A ROCH, Afl UPON A CRfl)IT OF TLSYEAR$ATS !tVnYq: WHIOD WILL It PRODUCTIVIorARItOF PXOPEWET ILP -: - 10, 15, rztaa,. 20PZR CZRT., aflOflmflafl asx.t - E' -- :. BY EDWAn 0. OQflctLL, Title page of an early pamphlet in the collection of the Library of Congress proposing a "General Print Mint" for the United States.The author shipped a quantity of his treatise to the Postmaster General at Washington requesting that official to distribute the copies to the Members of Congress. HISTORY of the BUREAU of ENGRAVING and PRINTING 1862-1962 TREASURY DEPARTMENT Washington, D.C. For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C.20402.Price $7.00 CENTENNIAL HISTORY STAFF MICHAEL L. PLANT Office of the Controller ARTHUR BARON LOUISE S. BROWN Office of Office of Plant Currency and Stamp Manufacturing Facilities and Industrial Procurement JOHN J. DRISCOLL MICHAEL J. EVANS Internal Audit Staff Internal Audit Staff The Introduction, giving a brief history of the art of engraving and its application in American colonial and early Federal days, was prepared by Robert L. Miller of the Bureau's Designing Staff, Office of Engraving and Plate Manufacturing. II Foreword RE IDEA of publishing ahistory of the Bureau of Engraving and Printing to commemorate the centennialanniversary of its establishment was nurtured in the knowledge that a recitalof its accom- plishments was a story that well deserved the telling.It is not a subject that has been dealt with widely.Much of what has already appeared inprint concerning the Bureau is in the nature of guidebookmaterial or relates to its products, especially currency notes and stamps, ratherthan to the agency itself. -
A Discussion: Rembrandt's Influence on the Evolution of the Printmaking Process Through His Experimental Attitude Towards the Medium
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2004 A Discussion: Rembrandt's Influence on the Evolution of the Printmaking Process through his Experimental Attitude towards the medium. Bethany Ann Carter-Kneff East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Art and Design Commons Recommended Citation Carter-Kneff, Bethany Ann, "A Discussion: Rembrandt's Influence on the Evolution of the Printmaking Process through his Experimental Attitude towards the medium." (2004). Electronic Theses and Dissertations. Paper 885. https://dc.etsu.edu/etd/885 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. A Discussion: Rembrandt’s Influence on the Evolution of the Printmaking Process Through His Experimental Attitude Towards the Medium _______________ A thesis presented to the faculty of the Department of Art and Design East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in Printmaking _______________ by Bethany Ann Carter-Kneff May 2004 _______________ Ralph Slatton, Chair Peter Pawlowicz Mark Russell Keywords: Rembrandt, Printmaking ABSTRACT A Discussion: Rembrandt’s Influence on the Evolution of the Printmaking Process Through His Experimental Attitude Towards the Medium by Bethany Ann Carter-Kneff Rembrandt’s influence on the medium of printmaking can only be explained through his methodology in the production of his images. -
INTAGLIO / Aquatint Maury | Fall 2019 an Aquatint Is an Etching with Tonal Passages That Resemble a Wash
INTAGLIO / Aquatint Maury | Fall 2019 An aquatint is an etching with tonal passages that resemble a wash. An aquatint employs acid resistant particles to create an irregular dot pattern on the plate. The acid resistant particles can be applied using spray paint, rosin, or other acid resistant particles to create a random texture. Aquatint can be used alone or in combination with drypoint and etching techniques. Generally, aquatint is applied after an image has already been created with drypoint or etching to add tonal values to the image. But there are many ways to use aquatint, including applying rosin or spray paint on top of hard ground (before the plate is put in the ferric chloride bath). Note: You will print with less pressure for aquatints. Francisco Goya, Que Gerrero! (How Warlike!), 1877, Etching and burnished aquatint. A 50% coverage of the plate is ideal. too sparse just right too heavy 1 ROSIN Grains of rosin are dusted onto a plate, then melted slightly, so that the rosin can create tiny islands for acid to bite around. Aquatint provides a texture, or tooth, to hold the ink. Rosin can be applied by hand or using a traditional rosin box. Apply rosin by hand by placing rosin powder into a nylon and shaking it onto the plate as desired. This allows for a more variable application. How To / The Rosin Box: You will need to wear proper protective gear when using the Rosin box. There are respirators on the shelf nearby or bring your own dust mask. Rosin is dangerous if inhaled over time.