A color linocut print combined with a plexiglass drypoint engraving of a small yellow chair next to a window and a table of perfume.
How to make your own mezzotint plate First, take a nice shiny copper plate and rock the mezzotint rocker across its surface to cover it in lots of wee dots. Rocking the mezzotint rocker As you add …
When I am not sure how to proceed with a print, I sometimes take a sideways step and do an etching. You might remember that I recently started on a butterfly print. I went back to this today, …
Drypoint Art Nature Etchings | Drypoint Art Etching Is a Unique Process in Printmaking | Here is a video on my drypoint etching process
In this post I will explain the basic steps of making linocuts at home without a press. I love the craft of linoleum printing and I hope you will tempted to try it as well.
Après avoir beaucoup exploré la technique de la gravure de tampons à encrer et alléchée par les créations de Marie et Fabienne, j'avais très envie de tester la linogravure. Cela faisait déjà un moment que je m'étais équipée du matériel complet, notamment de gouges de qualité qui permettent une précision incomparable à celle des kits de base, il ne restait plus qu'à se lancer ! J'ai réalisé cette première linogravure sur une plaque de taille moyenne (13 x 18 cm), avec un motif inspiré des planches botaniques, un registre que j'affectionne particulièrement. Je suis assez contente du résultat, le motif me plaît même si j'ai cherché la difficulté avec tous ces petits détails... J'ai juste fait quelques micro-retouches avec un pinceau fin après impression. Ce premier essai est monochrome, l'impression sans presse m'a bien valu une dizaine d'essais jusqu'à trouver la bonne dose d'encre, le bon geste et la bonne astuce pour remplacer le "baren" qui me manquait (un couvercle en bois bien plat). C'était long et mon lino avait tendance à gondoler, mais j'ai quand même bien envie de poursuivre en testant l'impression avec plusieurs plaques, une pour chaque couleur, car le procédé est assez magique. A suivre... (gouges de qualité : Joop Stoop - plaques de lino : Rougier & Plé - encre : Le Géant des Beaux-Arts) Retrouvez-moi sur mon nouveau blog : Les Plaisanteries Sur les réseaux : Facebook / Pinterest / Hellocoton / Instagram / Twitter / Bloglovin Et en librairie : "Inspirations géométriques" Ed. Eyrolles
What are some the advantages of the dotted lozenge style of rendering? Detail of Hendrik Goltzius’ Vulcanus (1592), showing the dotted lozenge style of rendering tone There are many drawing styles with long historical pedigrees of use (e.g. the return and hook strokes discussed in the earlier post, Passion in a Line), but one style that has virtually disappeared from use is the dotted lozenge (shown in the detail above). This distinctive style for rendering the effects of light and shade on a subject involves the artist in initially laying down a matrix of cross-hatched strokes (i.e. a set of parallel lines overlaid by another set of parallel lines aligned at an angle to the lines underneath as shown in the diagram below) and then inserting a dot in the centre of the diamond-shapes (lozenges) created in the cross-hatched matrix (see further below). The following discussion traces the evolution of this style and proposes some of the advantages for its use in the hope that the style may be revived with fresh applications for digital illustration. Cross-hatched style of rendering Dotted lozenge style of rendering The artist credited with the development of this rendering style is Hendrik Goltzius (1558–1617). Like all styles, it didn't simply appear one day. Instead, it evolved from the rendering practices of other artists and the Goltzius morphed them into the dotted lozenge manner of shading. For instance, Albrecht Durer (1471–1528) developed the line and dot technique for rending the transition from dark tones to light involving a set of parallel lines to represent shadows that taper off into dots aligned to the end of each line to represent the transition to light (see diagram below with detail of Durer’s famous engraving, Adam and Eve). (left) Durer's line and dot style of rendering (right) Detail of Durer’s Adam and Eve, 1504 Uploaded by ClarkArtInstitute on Nov 11, 2010 Even Durer’s style had it predecessors with engravers like the Master of the Playing Cards (active c.1425–50) who used parallel lines of varying length to represent tonal changes (see detail below of Saint Sebastian by the Master of the Playing Cards). left) Master of the Playing Cards’ parallel lines of varying length style of rendering (right) Detail of Master of the Playing Cards’ Saint Sebastian, c. 1425–50 Regarding the use of dots without any line work to render a tonal transition, Giulio Campagnola (c.1482–after1515) is credited with being the inventor of the “dotted manner” (i.e. stippling as shown below in the diagram and detail from Campagnola’s Venus Reclining in a Landscape) but the use of dots extends back earlier into the fifteenth century with the punched dots in metal-cut prints and far earlier to the first cave paintings. (left) Campagnola’s dotted manner (stippling) of rendering (right) Detail of Campagnola’s Venus Reclining in a Landscape, c.1508–09 The cross-hatching style had its own evolution as well. This style made its first appearance in the prints of Master ES (active c. 1450–67) (see diagram and detail below from The Visitation by Master ES). Here the type of cross-hatching features sets of straight aligned strokes that are multi-layered when dark tones are required and thinned in their layering for the light tones. (left) Master ES’ cross-hatching style (right) Detail of Master ES’ The Visitation, c.1450 This style of cross-hatching then evolved with Martin Schongauer (c.1448–1491) whose prints were the first to feature curved lines lightly delineating the contours of the subject in the cross-hatched strokes (see diagram and detail below of Schongauer’s Christ as the Man of Sorrows between The Virgin Mary and St John). (left) Schongauer’s curved cross-hatching style (right) Detail of Schongauer’s Christ as the Man of Sorrows between The Virgin Mary and St John, c.1471–73 Even the attributes of the lines used in shading had evolved by the time of Goltizius allowing him to build upon Schongauer’s curved cross-hatching. At the time of Master ES and Master of the Playing Cards, for example, the lines employed were the same thickness along the shaft of the strokes reflecting the type of burin used to engrave the lines. With the invention of the échoppe (i.e. an etching needle with a oval-sectioned end) by Jacques Callot (c.1592–1635) the mechanical regularity of the early engravers’ lines used for shading gave way to etched lines of varying thickness that could be manipulated to swell when depicting dark areas of an image and become thin when depicting lit areas (see diagram and detail below of Callot’s The Nobleman with Fur coat). (left) Callot’s swelling style of line (right) Detail of Callot’s The Nobleman with Fur coat, 1624 Subtleties, such as Callot’s phrased swelling of line and Schongauer’s curved cross-hatching, became an important variable in Goltzius’ application of the dotted lozenge style. For instance, in Goltzius’ engraving, Marcurius (shown below), his phrasing and curving of the strokes articulate the surface contours of Mercury’s belly while Campagnola’s "dotted manner" renders the final stage of the tonal transition into light with a gentle merging of the inscribed marks with the white of the paper. Hendrik GOLTZIUS (1558–1617) Marcurius [Mercury], 1592 After Polidoro da Caravaggio (c.1500–1536) From the series: Eight Deities Engraving on laid paper Lettered above “MARCURIUS”; in lower left “Polidorus” and at right “HG. Sculp. 8” 35.9 x 21.7 cm (plate) 45 x 30.8 cm (sheet) Strauss 296; Hirschmannn 303; Hollstein 303.ll; New Hollstein 322 (Hendrick Goltzius); Bartsch lll.77.254 Condition: Very strong impression (most likely a lifetime impression) with wide margins. The sheet is supported on thin Gyokuryu paper because of tears on the edges of the sheet (well away from the image). There are handling marks, damp stains towards the top of the sheet but otherwise the print is in good condition. I am selling this print for $380 AUD including postage and handling to anywhere in the world. This is a large print and will be shipped in a tube. Please contact me using the email link at the top of the page if you are interested or click the Buy it Now button below. This print has been sold Detail of Goltzius’ Marcurius Detail of Goltzius’ Marcurius The flexibility of the dotted lozenge for showing the extremes of tone from the darkest shadows to brilliant light and its flexibility to express vitality by virtue of the swelling lines made the style popular with artists. This was especially true around the time of Goltzius as by 1585 there was strong interest in the expressive potential of theatrical exaggeration typifying the period style of Mannerism. For the Mannerists, such as Bartholomeus (Bartholomaeus) Spranger (1546–1611), whose paintings Goltzius translated into prints, the plasticity of modelling that the swelling line provided and the precision that the placement of the dots permitted lead to a new phrase in the art lexicon for describing the ultimate form of vitality: Sprangerism—a term exemplified by displays of voluminous muscles, contortion of the subject and bravura in laying closely aligned marks to render form. Beyond providing the artists with a very adaptable style, there is another interesting outcome that has important ramifications when using the dotted lozenge: the placement of dots into the matrix of cross-hatching helps to prevent the formation of moiré patterns. These patterns arise when two sets of parallel lines are overlaid but they are most noticeable when the parallel lines in each set are spaced close together and the sets of lines are overlaid at very slight angle to each other. Uploaded by the by ElicaTeam For instance, in Goltzius’ Vulcanus, compare the cross-hatched background beside Vulcan’s left leg (shown below) where no dot features in the matrix of lines with the dotted lozenge treatment of his leg (shown further below). From my observation, the background where there are no dots has moiré patterns, whereas Vulcan’s leg has no, or few, apparent patterns. Arguably, what is happening to the optical illusion is that the dot in the cross-hatched matrix disrupts the patterns from forming. But there is also an alternative explanation that has little to do with the dots causing interference: moiré patterns are minimised when the angle between the sets of parallel lines is close to either 45 or 90 degrees. Hendrik GOLTZIUS (1558–1617) Vulcanus [Vulcan/Hephaistos], 1592 After Polidoro da Caravaggio (c.1500–1536) From the series: Eight Deities Engraving on laid paper Lettered above "VULCANUS". In lower left corner "Polidorus Inue" and at right "HGoltzius. Sculp.". Numbered in lower right corner "4". 35.6 x 21.7 cm (plate) 45.3 x 31 cm (sheet) Strauss 292; Hirschmannn 299; Hollstein 299.ll; New Hollstein 318 (Hendrick Goltzius); Bartsch lll.77.252 Condition: Very strong impression (most likely a lifetime impression) with wide margins. The sheet is supported on thin Gyokuryu paper because of tears on the edges of the sheet (well away from the image). There are handling marks, damp stains towards the top of the sheet but otherwise the print is in good condition. I am selling this print for $380 AUD including postage and handling to anywhere in the world. This is a large print and will be shipped in a tube. Please contact me using the email link at the top of the page if you are interested or click the Buy Now button below. This print has been sold Detail of Goltzius’ Vulcanus showing moiré patterns in the cross-hatched background There are many reasons for the abandonment of this versatile style towards the end of the nineteenth century: fresh ways of making images arose; the process of cross-hatching following by dotting is technically demanding and time consuming; and, the outcome can appear mechanical with resonance of a past era in printmaking. Like a lot of traditional styles, however, there will come a time for their revival when the time is “right.” A few decades ago the time was certainly not right but with the fresh ways of creating images now that the digital age has arrived, this may be the moment to reinvent the dotted lozenge. In the digital experiments below, I have used some of the default filters in Photoshop to add new dimensions to the dotted lozenge in the hope that they may suggest ways to breathe life into this virtually forgotten style. The first pair of images explores the idea of reshaping the matrix of marks into a bas-relief. The second pair of images demonstrates the effectiveness of blur and lens flare filters to create tonal gradations that would not have been possible for the early printmakers. The final set of images explores alternative ways to change the dotted lozenge from negative (white) lines to positive (black) lines—a simple flick of a tool. Dotted lozenge as bas-relief Dotted lozenge with blur (upper image) and lens flare (lower image) Dotted lozenge with transition from negative (white) lines to positive (black) lines
Diesen Blogpost habe ich vor längerer Zeit für meinen alten Blogger-Blog geschrieben. Ich habe mich damals bei der Adventspost vom Post Kunst Werk Blog von Mi
We have already worked with this interesting material that can be etched, cut, shaped, glued, colored and printed. We used the craft foam sheets for printing, because it’s cheap, it’s s…
Chris Wormell created a series of illustrations for John Dewar and Sons Scotch Whiskey for their fun series of videos, "Speaking Scotribbean."
Photos of the Drypoint etching process, from to cutting a plexiglass plate, and ink mixing, all the way to intaglio printing on a press.
When we first heard the news that Tetra Pak cartons could be used for printmaking, we were excited to try it out. We started to collect all the cartons we had at home and got ready to put them to a new use in the studio. Here’s a little project to get started using Tetra … Continue reading "Tetra Pak Drypoint and Collagraph Printing"
"Luna's Glencoe" Landscape Print - Inspired by Scotland My landscape print range is inspired by the beautiful views in Scotland and Northern Europe, featuring "Luna's Glencoe" - depicting the stunning beauty of the Scottish scenery. All of the work is designed by me in my studio in Edinburgh. Throughout the year new print sets will be released based on a new theme or location. For a premium finish Hahnemuhle German Etching paper is used - a textured paper that elevates the print. Order now to enjoy free shipping. All sizes are A paper sizes, however due to a rounding issue sizes are shown to the nearest centimetre. Be reassured they will print at the correct sizes for A paper sizes as shown below: A4 - 21 x 29.7 cm (shown as 21 x 30cm) A3 - 29.7 x 42 cm (shown as 30 x 42cm) A2 - 42 x 59.4 cm (shown as 42 x 59.4cm)Please add description
Welcome to Atmospheric Pillow ;) Thank you for clicking on this little thing that seems to interest you! This is an illustration made in linocut: I engraved the drawing previously drawn by me on a stamp, then each print is printed (or stamped :)) by hand. Each copy is therefore unique and therefore presents small variations inherent to the process. The prices indicated take into account processing, sending, and preparation with love so that this little package arrives at your home ;) ● Signed and numbered illustration ● Poster sold WITHOUT FRAME ● Poster came WITHOUT STAMP ● A4 format: 21x29.7cm ● Sending with love from Strasbourg to France ● Hand printed by me (with love) in Strasbourg on 250g textured paper made in Italy, FSC labeled And if you liked it, and want to see more, don't hesitate to go this way: https://www.instagram.com/atmosphericpillow/ Thanks again ! Atmospheric Pillow, 2024 All rights reserved
You might have seen glimpses of a new printmaking series on Instagram, and I thought I tell you a bit more about it. The printing plates are made using recycled Tetra Paks, and the prints have an aged look – you can almost feel that something old or used is involved. So far, I have ...
