Original Prints
View allAll Photos Tagged drypoint
1903
Käthe Kollwitz (1867 - 1945)
Line etching, drypoint, sandpaper and vernis mou | Strichätzung, Kaltnadel, Schmirgel und Vernis mou
From the exhibition "Dürer, Munch, Miró. The Great Masters of Printmaking" in the ALBERTINA in Vienna
Drypoint with 9 carat gold leaf chine-colle on 250 gsm Somerset.
This has been sitting around for a few days as I was meaning to add to it, then seeing it with fresh eyes, the silent nature came through and it has been left as it is; uncluttered and soft.
The view at the end of the valley where the rocks tumble headlong into the sea.
Drypoint on 250 gsm Somerset using oil-based relief printing inks.
Drypont with9 ct gold Chine-colle
on 250 gsm Somerset
Printed in 3 phases.
Looking to create soft tones and equanimity.
Baby Forest, a creative colony has shortlisted this image for their membership awards 2018. There is also a people's choice. If you are so inclined, here is a link to register and vote. The list is a long one but if you like mine, it is about half-way down. :)
babyforest.co/users/642/creator_colonies?filter_form%5Bwh...
Printmaking using Dry point and carborundum on 250 gsm Fabriano and oil-based relief inks.
A drypoint print looking at the south field which still shows its winter lines.
Drypoint on 250 gsm Fabriano using oil-based relief printing inks.
Drypoint collagraph on 250 gsm Somerset (and a sprinkle of carborundum).
I took several photographs of the place I will one day live; the oblique rock strata, the steep hillside, the shingle / sandy bay and little white light fringing the end of the road.
Hele Bay is a small hamlet just east of Ilfracombe, North Devon.
It is the beginning of February but already the furrows are sporting green fringes.
Printmaking, oil based inks on 250 gsm Fabriano using drypoint.
Chine-colle gold leaf in the foreground of this misty drypoint seascape.
Printmaking using oil-based relief printing inks on 250 gsm Somerset.
Drypoint with embossed detail. The same plate as posted before, but a better print, I think.
250 gsm Fabriano.
Drypoint on 250 gsm Somserset. Sand. Bella Bee.
Playing with layers and texturing using the brayer and strips, looking for something new.
Getting a little fed up with some of my productivity so looking to a new view. This happens after most birthdays.
Playing with collage and drypoint
The swimmer. Start of a new idea for a series based on life change.
Drypoint with chine-colle detail.
Using drypoint technique, making subtle variations in mark marking has become a recent (obsessive) joy. Love printmaking.
Drypoint using oil-based relief inks on 65 gsm Lokta (wild handmade paper) with shine-colle.
Jim Dine, The Five [Two] Hammer Études, 2007, Etching, drypoint, aquatint, and power tools on five joined sheets of paper [floor], 751 x 2564 [751] mm - 29 9/16 x 100 15/16 [29 9/16] in, The Baltimore Museum of Art
Altro titolo - Another title: AC, 2025 (Artificial IntelligenceArts and Crafts)
[Fototeca Fondazione Omeri, Trieste]
sites.google.com/view/fabioomero/artists
collection.artbma.org/objects/53965/the-five-hammer-etude...
A quickie at the end of the workshop session, this is the plate first pulled at home, but this time using oil-based inks and put through an etching press.
Drypoint using Hawthorn oil-based relief inks on Experimental paper made sometime between 1969 and 1973 as a waterleaf by J Green & Sons. This paper was sold (very cheaply) by the owner of the company (new name) this year, 2018 as a trial to see how it works. William, Vintage Paper Co, Stromness, Orkney.
Rembrandt
Etching and drypoint on laid paper, signed and dated in monogram "RHL 1630".
Exhibition "Young Rembrandt"
Ashmolean Museum, Oxford
Collaging up images from a section of drypoint overprinted with collagraph plate.
Oil-based relief printing inks on Somerset 250 gsm.
Fotoradierung (Heliogravüre) + Kaltnadel und Ätztechniken.
(Light sensitive polymer plates allow for photorealistic etchings. A photo-sensitive coating is applied to the plate by either the plate supplier or the artist. Light is projected onto the plate as a negative image to expose it. Photopolymer plates are either washed in hot water or under other chemicals according to the plate manufacturers' instructions. Areas of the photo-etch image may be stopped-out before etching to exclude them from the final image on the plate, or removed or lightened by scraping and burnishing once the plate has been etched. Once the photo-etching process is complete, the plate can be worked further as a normal intaglio plate, using drypoint, further etching, engraving, etc. The final result is an intaglio plate which is printed like any other.)
Taking a section from a previous print and re-inventing it with the addition of another using one of my favourite bright orangey colours.
Somerset 250 gsm, oil-based relief printing inks, collagraph and drypoint.
We drove about 550 miles this weekend. Finding a spot with only three trees that included a pasture on the left was way harder than hoped. I did not realize at first that his work had a pond and someone fishing so I had to mix that in. I had fun with this, and I am very unwilling to admit how long it took me!
“Rembrandt van Rijn
Rembrandt’s masterful Three Trees is the artist’s largest landscape print, an atmospheric etching and drypoint creation that epitomizes the ever-changing drama of the outdoors.” He completed this in 1643.
www.artic.edu/artworks/29271/the-three-trees
52 weeks of 2022: grand masters art
It was all looking a bit grey (which is what I wanted) but thought things could brighten a little with some Chine-collé. This is 20 C gold leaf, so dead posh.
Drypoint on 250 gsm Somerset with gold Chine-collé using oil-based relief printing inks.
These just need to be mounted and framed. Each one is a separate dry point art print looking at various aspects of driving home in the dark.
I'll probably use a simple white backing board and frame for this, (mounted together in a square), unless anyone reading this thinks otherwise!? Let me know if you do.
Dry point printmaking