Additional Information

Purchase Information

In order to pursue a purchase please contact me at jjttb1@mymts.net

Photoshop and Photographic images can be printed in various dimension, prices will be adjusted accordingly.
(these images can be dry mounted on foam-core with reinforced backing to reduce the risk of damage,
additional charges will be made for this. 
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The Intaglio Process

For those unfamiliar with the Printmaking process, here's a description of what I do.

I work with copper and zinc plates which are cleaned to start. The plate is then covered with an acid resistant ground called Asphaltum, which is not unlike asphalt in terms of colour and smell. Using an etching needle, or a similar tool, I draw into the ground, revealing the plate underneath. The plate is then dipped into acid. The acid bites the surface of the plate where it was exposed.  The length of time in the acid varies depending upon how dark I want a line to be.   The longer the plate is in the acid the deeper the etch and as result the more ink that line will hold. The plate is then removed from the acid bath, and the Asphaltum ground is removed to prepare for the next step in printing.  Areas of grey and black are made by baking an acid resist resin on to the plate.  The acid is only able to bite in between the particles and this creates what is known as an Aquatint on the plate.  Sometimes I use a wax coating known as a soft ground.  This allows me to place an object on the plate and run it through the press.  The press pushes the high points through the wax thereby exposing the plate.  This allows me to etch a copy of that object.

I also use plexiglass in order to do what is called a drypoint image.  No acid is involved in this process, I simply scribe directly into the plate with an etching needle to create the grooves which will hold the ink.

Ink is applied to the plate making sure every area is covered evenly, it is important to make sure that the ink gets into the lines and textures on the plate. The plate is then wiped with a tarlatan cloth ( sort of a heavy cheesecloth) to remove most of the excess ink.  The final smooth wipe is often done with newspaper or old phone book pages, and sometimes I simply do a hand wipe, this leaves the ink only in the incisions. I rarely go for what is referred to a clean wipe, I like to see a plate tone in the image.  The wipe is done while the plate is heated on a hot plate, this keeps the ink fluid while doing the wipe.  The actual ink is like a paste not unlike Vaseline, only not as fluid.

The paper that is used is referred to as rag paper, it is not the same type of processed paper used for typewriters or printing machines.  This paper contains no chemicals and must be soaked in water for periods up to 3 hours depending on the weight and type of paper being used.  The paper is then removed from the water and the excess moisture is blotted out.  This allows the paper to be squeezed  into very fine lines in order to pick up the ink from those marks. The paper and plate are then covered by a felt blanket to ensure even pressure when going through the rolling press. The rolling press is hand operated and applies very high pressure through the felt blanket to push the paper into the grooves on the plate. The blanket is then lifted, and the print is carefully removed from the plate and then placed to dry.  Paper is put down on ceiling tile, the print is placed on the paper, and another sheet of paper is placed on top of the print.  This is then "sandwiched" under another ceiling tile.  The print is left for at least 24 hours to ensure it is dry and can then be handled without concern that the ink will smear.

The entire process varies in length depending upon the size of the plate and how it was etched.  It is not uncommon to spend more than half an hour doing the wipe before even considering the press.  Each image is hand done by the artist.  Only a limited number of impressions are made, and that is referred to as the edition size.  All impressions from an edition are considered to be originals given that the artist must complete this process for every image that is made.

The Relief Process

I use linoleum for my images, some artists work with wood as well.  In this process the "plate" is linoleum and is cut away, leaving only the lines or areas that the artist chooses to print.  In a sense it is a sort of "negative drawing", in that the artist doesn't make a black line but rather cuts the plate away until only a black line is left.  Various tools can be used to cut away the plate.  Once the image is made the linoleum plate is inked with a roller.  Some relief printers use dry paper and print only the lines left on the plate.

I like to use wet paper and ink the entire plate in much the same way as with Intaglio.  I like to print the cut away areas which means getting the ink into those cuts and then wiping the excess amounts off.  I feel that the cut away areas adds a richness to the image by allowing another way of creating greys not just blacks and whites.  By using wet paper, the surface of the print is given a relief texture, i.e. embossed in the deep cut areas.

I hope this provides some idea of the process involved.  

Please visit some friends of mine on their websites:

www.petercgraham.blogspot.com - prints and paintings

www.marilynsettle1.blogspot.com - paintings