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#Intaglio

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Benjamin Becquet
"Grass snake". Aquatint etching, with roulette and burnisher touches. 20 x 25 cm.

Strictly speaking it's still a WIP as I just saw one part where I'll add a shadow, but apart from that I consider it done.

I'm quite happy with it, during the whole process I feared adding a detail or messing up something that would make it lose its "organic" feel, but it didn't happen. Even if lights and shadows aren't so realistic (have you ever looked closely at light playing on a snake's scales? It's crazy!), they bring the effect I wanted and it still looks like a convincing enough snake to me :D

#printmaking #intaglio #etching #aquatint #snake
Etching print showing a partly coiled grass snake over a fully white background, with each scale drawn in details.
#snake
Public
eabadea
Starting out big by sharing a triptych that was sold at last years' Hristmas market and some if my favourite pieces. Consisting of the works:
"Best part of summer24', Mycelia & Worst part of summer 24' "

Now it's hanging in the entrance of a happy owner 😊

*Detailed info for the curious reader*:

Intaglio printing, drypoint etching on zink plates handprinted on acid free quality cotton paper with oilbased ink in prussian blue and yes, orange. 😅 The chemical reaction between the ink and zink plate reminds of burned sienna. Which is why the colors seems a bit different but this has been depending on how long I've spend on removing the ink from the plate.

#intaglio #intaglioprinting #zinkplate #handmade #handcrafted #triptych #prussianblue #drypoint #graphicprinting #traditional
#traditional
Public
Deborah Hartmann Preuss, pcc

Materials test: drypoint on recycled fruit container plastic

Inked with: Neocolor II water soluble wax crayon

Printed on: smooth side of wet "half-ripe" Xuan mulberry paper

Press: embossing press with 6" wide plate

No felt, used layers of cotton flannel sheet.

Left: various dremel attachments.
Right: classic steel etching needle.

Surprised at how well it went. Excited!

Abstract paisley-type pattern: mostly line drawing, also some areas filled with hatching, stippling and dremel scribbling.
#printmaking#intaglio
Public
Anthony at Willow House Prints

After a rocky start to the year, my foray into etching continues. This is a summer sun view of Allan Bank Grasmere, one-time home (and for a time legal nightmare) of William Wordsworth. I’m not so much interested in the house as the challenge of the depth and difference of that backdrop of trees, the shadows from the eaves and the rendering of that fell. 45m etch under way #AltText #Cumbria #Wordsworth #etching #intaglio #printmaking

Photograph of a copper plate covered in black ground with incised lines and hatching, to render a view of a multi-wing pitch-roofed English rural house set in grassland among Lakeland fells. A varied treeline forms the backdrop, a fell can be seen at the left and a single tree forms a focal point before the house. Sheep can be seen grazing. The image is like a line drawing but in negative, ready for etching and printing in the positive.
Public
Erik Purins
First pass of most lines is in. I ran single cuts for where thin power lines were, doodled some twists, and sawed at parts of the wood telephone pole. It’s hard to see the detail while I cut without a flashlight, so I wiped in some water soluble black crayon.

This might need a dark or black color plate along with the line work.

#intaglio #etching #printmaking
An intaglio etching in progress. Blue plastic tape holds a printed photo onto the back of a plexiglass plate. A wooden telephone pole holds power and phone lines against a cloudy sky. The artist’s hand holds the bottom right corner. Behind the plate is a well lit wooden workbench with supplies and tools. Some tools also hang on a magnetic bar on the wall.
The same etching plate on the workbench, rotated and with camera at different angle to catch light highlights from overhead lighting. Soft burnishing marks are visible from having used brown paper to wipe soft black crayon into the etching.
The same etching plate on the workbench, rotated and with camera at yet another different angle to catch light highlights from overhead lighting. Soft burnishing marks are visible from having used brown paper to wipe soft black crayon into the etching.
The same etching plate on the workbench, rotated and with camera at yet another different angle to catch light highlights from overhead lighting. Soft burnishing marks are visible from having used brown paper to wipe soft black crayon into the etching.
#printmaking
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