One of my intaglio prints from the Digging Series will be acquired by the Hood Museum at Dartmouth College. A print collector who saw my work when I had a solo exhibition at the Danforth Museum of Art is purchasing several prints from me this week. This print shown below is going to the Hood Museum’s print collection.
This print is an aquatint in which the image is drawn by an acid-resistant lithographic pencil, which is what creates the look and feel of a charcoal drawing in the plate. This technique frequently confuses people because after the black lithographic pencil gets processed, the pencil markings become the white parts of the plate, and the untouched areas become black. Therefore, you have to draw the tones in your plate in reverse as if it were a photo negative. When I used to teach Intaglio Printmaking I, this was always a very tough concept for people to get over, especially if you have a lot of drawing experience which allows you to get accustomed to seeing the results right in front of you the whole way through the process. It’s certainly an excellent technique in terms of preserving the direct translation of drawing in a print; I remember when I processed this plate I had very few states because the final etching of tones was so faithful to the original drawing done with the lithographic pencil.
“Line”, aquatint & drypoint, 12″ x 12″, 2004