Archive for February, 2010

Use Akua Intaglio inks
for all types of Etched / Intaglio Plates


Etching involves coating the surface of a copper or zinc plate with an acid-resistant ground. The printmaker draws into the ground with an etching needle to expose the metal. Then, the plate is placed in an acid bath which etches the exposed metal. The plate is inked and printed with the use of an etching press.


Steel faced etching (detail)
artist, David Finkbeiner.

Comparing Print Results
using Akua Water-based ink and Oil-based ink

In March of 2008, Master Printmaker, Tony Kirk and Susan Rostow printed a variety of plates using both oil-based and Akua Intaglio inks at the Center for Contemporary Printmaking in Norwalk Connecticut.

Read more

View slide show of print session (includes 4 tests below)

INKING RESULTS:

The inking and wiping of the plates require the same procedures. The only difference was that Akua Intaglio inks require less time wiping than oil-based inks. The steps for inking and wiping the different types of plates varied slightly. View slide show of print session






FINISHED PRINT RESULTS

TEST 1:

Test plate with aquatint and line etching .

Result: No difference between finished prints made with oil-based and Akua Intaglio Ink.
learn more on test 1

Tony Kirk, Master Printer
examines test plate.


TEST 2:

Solarplate with image by artist, Mary Frank

Result: With modification, Akua Intaglio and the oil based final prints were indistinguishable from each other.
learn more on test 2

Solarplate print (in progress)
artist, Mary Frank

TEST 3:

Aquatint plate with image by Donald Sultan

Result: No difference between finished prints made with oil-based and Akua Intaglio Ink.
learn more on test 3

Aquatint print (in progress)
artist, Donald Sultan

TEST 4

Steel faced etching with image by David Finkbeiner.

Result: Print made with Akua  was richer.
learn more on test 4


Steel faced etching (detail)
artist, David Finkbeiner.

Steel faced etching (detail)  artist, David Finkbeiner.

Comparing Print Results using
Akua Water-based ink and Oil-based ink

In March of 2008, Master Printmaker, Tony Kirk and Susan Rostow printed a variety of plates using both oil-based and Akua Intaglio inks at the Center for Contemporary Printmaking in Norwalk Connecticut.

Read more

View slide show of print session (includes 4 tests below)

INKING RESULTS:

The inking and wiping of the plates require the same procedures. The only difference was that Akua Intaglio inks require less time wiping than oil-based inks. The steps for inking and wiping the different types of plates varied slightly. more info


Tony Kirk inking a plate.

FINISHED PRINT RESULTS

TEST 1:

Test plate with aquatint and line etching .

Result: No difference between finished prints made with oil-based and Akua Intaglio Ink.
View slide show test 1-4

Tony examines test plate.


TEST 2:

Solarplate with image by artist, Mary Frank

Result: With modification, Akua Intaglio and the oil based final prints were indistinguishable from each other. NOTE: At first, Akua printed darker and line details were less visible due to Akua’s heavy pigment load.  To reveal the lines, 40% Akua Transparent Base mixed with 60% Akua Black reduced intensity and revealed linear detail.
View slide show test 1-4

Solarplate print (in progress)
artist, Mary Frank

TEST 3:

Aquatint plate with image by Donald Sultan


Result: No difference between finished prints made with oil-based and Akua Intaglio Ink.
View slide show test 1-4

Aquatint print (in progress)
artist, Donald Sultan

TEST 4

Steel faced etching with image by David Finkbeiner.

Result: Print made with Akua  was richer.
View slide show test 1-4

Steel faced etching (detail)
artist, David Finkbeiner.

Use Akua Kolor
for Gelatin Plate Monotype.
Akua Intaglio inks will not work with this type of plate.

Gelatin Monotypes are printed from plates made of gelatin. Akua Kolor stays wet on the plate, so the ink can be manipulated and hand printed onto dry paper. Follow the same inking techniques for monotype printing by hand from plastic plates.

For more information on making the gelatin plates read the book
Making Monotypes Using a Gelatin Plate by Nancy Marculewicz

Gelatin Monotype
by Jean Barnes Downs


















Prilla Smith Brackett

Magical Visions Li River 3, carborundum monotype, 35 x 55

 

 

Magical Visions Li River 5, carborundum monotype, 35 x 55

Neal Ambrose-Smith


bio

Ambrose – Smith workshop info


Map of the Universe, 22″ x 30″
by Neal Ambrose Smith Mixed Media monotype.

“Sailor” 22″ x 30″
by Neal Ambrose Smith Mixed Media monotype.

 

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Coyote Goes Hunting
30×40 Mixed Media Intaglio with Akua Intaglio Inks

 

Artist Biography

Neal Ambrose-Smith is an artist and an educator. He often mixes tribal imagery and humor with current events and political issues, “I find sometimes that the best ingredients are right in my studio, just waiting to be discovered during a cleaning raid”. Currently, he has been looking for new ways to make safer and more sustainable art, “I feel responsible by making statements about reclaiming and recycling in my imagery and not practicing those very things with the work itself”. He has been teaching non toxic printmaking for three years now and continually searches for greener pastures.

Bernice Cross

bio

vikki_4color_intaglio_type.jpg

Vikki
2007
Four Color Intaglio Type
10″x5″

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Up
2007
Four Color Intaglio Type
10″x5″

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Homeland Security
2007
Four Color Intaglio Type
10″x5″

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Rotate
2007
Four Color Intaglio Type
8″x5″

Artist Biography

Bernice Cross has exhibited nationally and internationally. She has taught at The Rochester Institute of Technology and the Visual Studies Workshop. She has assisted Keith Howard in numerous printmaking workshops around the world, including in the U.S.A., Scotland, Belgium, Spain, Bermuda, The Netherlands and Indonesia. She is the publisher of “The Contemporary Printmaker”, and is considered a master in all of the printmaking techniques in the book. She is a non-toxic printmaking researcher and is internationally recognized as an expert in low and non-toxic intaglio printmaking.

©Bernice Cross

Curtis Wright

Primary Skater, intaglio 8x10

Aquatint, spit bite, wash resist, drypoint roulette and hardground etching printed with Akua Intaglio ink on Magnani Pescia Gray paper.

 

Dutchil B, etching 4.5 x5.5

Softground and hardground etching with aquatint and spitbite printed on Magnani Prescia Warm White Paper.

Lori Warner

bio

Warner workshop and contact info
Warner workshop & contact info

Staniel Cay Creek, monotype


Rocky Dundas, monotype


Staniel Cay Bonefish, monotype


Artist Biography

Lori Warner is considered a master printer in monotype. She is a graduate of Rhode Island School of Design where she received highest honors and the award for Excellence in Printmaking. She is the owner of Lori Warner Studio / Gallery in Chester, CT. Recent honors include, Best of Show, Boston Historical Parks Annual Exhibition, Second Place, 66th Annual Connecticut Artists Exhibition at the Slater Museum. Solo exhibitions include Soprafina Gallery, Boston, Chester Gallery and Westport Arts Center, Connecticut, and internationally juried group exhibitions in Hawaii, Michigan, New York and New Jersey. Her work is in the collections of Decordova Museum, Boston Public Library, Boston Atheneum, and Yale, among others.

Meredith Dean

bio

Venti di Giona 1, relief, 19.5 x 19.5

VENTI DI GIONA, relief, 19.5 x 19.5

 


Artist Biography

Meredith Dean works in various media including printmaking, painting, drawing, and photography. She currently teaches as a Senior Lecturer at the University of Texas, San Antonio, in the Department of Art and Art History. She and her husband, Dennis OIsen are the co-founders of the Santa Reparata International School of Art (SRISA) in Florence, Italy. She received a BFA in Painting and an MFA in Printmaking from Washington University, St. Louis, MO. She is the recipient of a Mid-America Arts Alliance/National Endowment for the Arts Fellowship Award in Printmaking.

Catherine Kernan

Bio

Workshop Description

Workshop Participants Gallery

The Berry Glen, woodcut monoprint 31.5 x 72 on three panels


Cross Currents, woodcut monoprint 31.5 x 72 on three panels


Refractions, woodcut monoprint 48 x 24

 

 

 

Artist Biography

Catherine Kernan is co-owner and director of Mixit Print Studio in Somerville, Massachusetts. She received her BFA from Cooper Union and her MFA from the University of Wisconsin / Madison. The recipient of numerous grants, Catherine has exhibited her work widely and is held in many public, private and corporate collections, and is an experienced and dedicated teacher