These images are ink and paint monotypes with photogravure.
I start with a layout in Photoshop, where I play with color combinations and margins, and determine how many layers are needed for the final.
For the backgrounds, I paint on sheets of plastic, mixing pigments for a chosen effect. Using a mix of waxy pigments with dry pastels and amendments like charcoal to create texture. This gives me some control over the parts of the image that will look solid and hold a photo well, versus the parts that will decay, exposing the pigments or paper underneath.
I typically paint on a light box, which allows me to see how the pigments layer and blend. Also this lets me use an acetate sheet with the original photo under my painting to control the composition.
I make the photographic portions with photopolymer plates. These are steel with a light-sensitive coating. I print the photo on these plates, then using UV light and water, “develop” them into hardened printable plates. It’s the modern equivalent of making etched copper plates, without all the acid.
The final step is to put the plates and paper through an etching press. First, I run the painted plate to create the background. Then I ink my polymer plate and run it through the press while the paper is still wet.
These images are ink and paint monotypes with photogravure.
I start with a layout in Photoshop, where I play with color combinations and margins, and determine how many layers are needed for the final.
For the backgrounds, I paint on sheets of plastic, mixing pigments for a chosen effect. Using a mix of waxy pigments with dry pastels and amendments like charcoal to create texture. This gives me some control over the parts of the image that will look solid and hold a photo well, versus the parts that will decay, exposing the pigments or paper underneath.
I typically paint on a light box, which allows me to see how the pigments layer and blend. Also this lets me use an acetate sheet with the original photo under my painting to control the composition.
I make the photographic portions with photopolymer plates. These are steel with a light-sensitive coating. I print the photo on these plates, then using UV light and water, “develop” them into hardened printable plates. It’s the modern equivalent of making etched copper plates, without all the acid.
The final step is to put the plates and paper through an etching press. First, I run the painted plate to create the background. Then I ink my polymer plate and run it through the press while the paper is still wet.