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Rochelle Mayer, artiste peintre et graveur

~ Site de l'artiste en arts visuels Rochelle Mayer

Rochelle Mayer, artiste peintre et graveur

Archives de Tag: à la poupée color printing

"Le chat", a dry point intaglio print and its monotype variants

16 samedi Fév 2013

Posted by Rochelle Mayer, artiste peintre et graveur in Actualités du blog

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à la poupée color printing, monotypes, Richeson Baby Press

Le chat (6.75 x 5 inches /17 x 13 cm), a dry point intaglio print on plexiglas (Plaskolite 050) plate.

Using traditional dry point needles, nails and roulette, I drew the image freely, without the use of a preliminary sketch, somewhat inspired by a small monotype that I did a while back, and my cat.    I printed on 11 x 7.5 inches/28 x 19 cm paper, which was wet beforehand.   All inks used are oil based etching inks.

A first print was pulled with dry point inking only, and subsequent variant monotype prints were pulled with à la poupée colour inking and wiping. 

 Dry point only with black ink on BFK paper.

Variant print with dry point black inking and à la poupée yellow ocre inking on same plate, on BFK paper.

Variant print with dry point black inking and à la poupée red inking on same plate, on BFK paper.

Variant print with dry point black inking and à la poupée red and blue inking on same plate, on hot press Somerset paper.

Variant print with dry point black inking and à la poupée red and blue inking on same plate, on handmade paper.   You will notice that the print on this handmade paper is much more subdued.

Also, as with all dry points, with each additional inking and pull of the print, the burr of the dry point wears off, and there is less intensity in the black dry point lines.

These prints were all printed in my studio on my new Richeson Baby Press.

"Le chat", a dry point intaglio print and its monotype variants

16 samedi Fév 2013

Posted by Rochelle Mayer, artiste peintre et graveur in Actualités du blog

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Étiquettes

à la poupée color printing, monotypes, Richeson Baby Press

Le chat (6.75 x 5 inches /17 x 13 cm), a dry point intaglio print on plexiglas (Plaskolite 050) plate.

Using traditional dry point needles, nails and roulette, I drew the image freely, without the use of a preliminary sketch, somewhat inspired by a small monotype that I did a while back, and my cat.    I printed on 11 x 7.5 inches/28 x 19 cm paper, which was wet beforehand.   All inks used are oil based etching inks.

A first print was pulled with dry point inking only, and subsequent variant monotype prints were pulled with à la poupée colour inking and wiping. 

 Dry point only with black ink on BFK paper.

Variant print with dry point black inking and à la poupée yellow ocre inking on same plate, on BFK paper.

Variant print with dry point black inking and à la poupée red inking on same plate, on BFK paper.

Variant print with dry point black inking and à la poupée red and blue inking on same plate, on hot press Somerset paper.

Variant print with dry point black inking and à la poupée red and blue inking on same plate, on handmade paper.   You will notice that the print on this handmade paper is much more subdued.

Also, as with all dry points, with each additional inking and pull of the print, the burr of the dry point wears off, and there is less intensity in the black dry point lines.

These prints were all printed in my studio on my new Richeson Baby Press.

"Le chat", a dry point intaglio print and its monotype variants

16 samedi Fév 2013

Posted by Rochelle Mayer, artiste peintre et graveur in Actualités du blog

≈ Poster un commentaire

Étiquettes

à la poupée color printing, monotypes, Richeson Baby Press

Le chat (6.75 x 5 inches /17 x 13 cm), a dry point intaglio print on plexiglas (Plaskolite 050) plate.

Using traditional dry point needles, nails and roulette, I drew the image freely, without the use of a preliminary sketch, somewhat inspired by a small monotype that I did a while back, and my cat.    I printed on 11 x 7.5 inches/28 x 19 cm paper, which was wet beforehand.   All inks used are oil based etching inks.

A first print was pulled with dry point inking only, and subsequent variant monotype prints were pulled with à la poupée colour inking and wiping.

Dry point only with black ink on BFK paper.

Variant print with dry point black inking and à la poupée yellow ocre inking on same plate, on BFK paper.

Variant print with dry point black inking and à la poupée red inking on same plate, on BFK paper.

Variant print with dry point black inking and à la poupée red and blue inking on same plate, on hot press Somerset paper.

Variant print with dry point black inking and à la poupée red and blue inking on same plate, on handmade paper.   You will notice that the print on this handmade paper is much more subdued.

Also, as with all dry points, with each additional inking and pull of the print, the burr of the dry point wears off, and there is less intensity in the black dry point lines.

These prints were all printed in my studio on my new Richeson Baby Press.

"Des mots plein la tête", printed in colour "à la poupée"

01 jeudi Juil 2010

Posted by Rochelle Mayer, artiste peintre et graveur in Actualités du blog

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Atelier Glypto, à la poupée color printing

Des mots plein la tête (7 x 6 inches), a color variation intaglio print, printed « à la poupée ».

I recently spent a month at Atelier Glypto, a small print workshop run by l’Association des Artistes de LaSalle, working out various printing and inking techniques such as collagraphs, monotypes and colour printing intaglio copper plates « à la poupée ».

I had editioned the intaglio print Des mots plein la tête in black and, as I wanted to do color variation proofs, I opted to ink the intaglio copper plate « à la poupée ». To this effect, I applied inks of different colours, in this particular case burnt sienna, raw sienna and paynes grey, selectively to different parts of the single copper plate, which was then printed in a single pass through the press. Each coloured ink was applied with a small dabber made up of tarlatane, called a dolly, or « poupée » in French.

The use of colour gives this intaglio print a very different mood, all the while using the very same copper plate as for the black editioned proof (see December 20, 2009).

"Des mots plein la tête", printed in colour "à la poupée"

01 jeudi Juil 2010

Posted by Rochelle Mayer, artiste peintre et graveur in Actualités du blog

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Étiquettes

Atelier Glypto, à la poupée color printing

Des mots plein la tête (7 x 6 inches), a color variation intaglio print, printed \ »à la poupée\ ».

I recently spent a month at Atelier Glypto, a small print workshop run by l\’Association des Artistes de LaSalle, working out various printing and inking techniques such as collagraphs, monotypes and colour printing intaglio copper plates \ »à la poupée\ ».

I had editioned the intaglio print Des mots plein la tête in black and, as I wanted to do color variation proofs, I opted to ink the intaglio copper plate \ »à la poupée\ ». To this effect, I applied inks of different colours, in this particular case burnt sienna, raw sienna and paynes grey, selectively to different parts of the single copper plate, which was then printed in a single pass through the press. Each coloured ink was applied with a small dabber made up of tarlatane, called a dolly, or \ »poupée\ » in French.

The use of colour gives this intaglio print a very different mood, all the while using the very same copper plate as for the black editioned proof (see December 20, 2009).

"Des mots plein la tête", printed in colour "à la poupée"

30 mercredi Juin 2010

Posted by Rochelle Mayer, artiste peintre et graveur in Actualités du blog

≈ Poster un commentaire

Étiquettes

Atelier Glypto, à la poupée color printing

Des mots plein la tête (7 x 6 inches), a color variation intaglio print, printed « à la poupée ».

I recently spent a month at Atelier Glypto, a small print workshop run by l’Association des Artistes de LaSalle, working out various printing and inking techniques such as collagraphs, monotypes and colour printing intaglio copper plates « à la poupée ».

I had editioned the intaglio print Des mots plein la tête in black and, as I wanted to do color variation proofs, I opted to ink the intaglio copper plate « à la poupée ». To this effect, I applied inks of different colours, in this particular case burnt sienna, raw sienna and paynes grey, selectively to different parts of the single copper plate, which was then printed in a single pass through the press. Each coloured ink was applied with a small dabber made up of tarlatane, called a dolly, or « poupée » in French.

The use of colour gives this intaglio print a very different mood, all the while using the very same copper plate as for the black editioned proof (see December 20, 2009).

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