My prints are examples of many different types of mediums. It ranges from traditional Lithographs (crayon and washes on stone), to Intaglio and aquatint (copper etchings), photo-based silkscreen prints as well as photo polymer gravier plates, and relief woodcut reductions.
Out of all of these mediums I do believe that my favorites are Intaglio and photo-based silkscreen. Intaglio allows the artist free-rein in drawing but in a way that’s almost scary in its permanence. By etching lines into a coper plate, the artist creates deep line work that goes way beyond the simplicity of drawing. And with the help of powder rosin and different dipping times in the ferric acid, there can be a large range of tonal quality like when using pencils and charcoal. The results you can get are amazing and the first time I pulled a proof of my “Moody Owl” print, I literally had tears threaten to fall. This process, to me, is one of the most rewarding mediums.
For photo-based silkscreen prints, the thing that draws me to it is the fact that you can start off with an image taken with a camera and break it down into layers of color and tone. For the Seven Deadly Sins project, I broke down each image into three layers, two color and a key (the black). With grease lithography crayons, I wrote out the words on a sheet of mylar and exposed it on the light sensitive silkscreen giving me a rugged, almost raw, kind of font. The medium really brought out the depth and emotion that I felt behind the subject matter and overall helped me feel like I did some of my best work thus far.
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