"Interior Spaces" - First A Grade Project in Print making 2006 / 07 Syracuse University, Comart Facility
In 1971 I recieved one of 2 scholarships to Bob Blackburn's Printmaking Studio on 23rd St. in Manhattan. I saw the first Intaglio plate that Harlem Artist Kay Brown made which took weeks. It was featured in many books on Black Artists and Female Artists. She used a variety of textures to get her image. Intaglio is a natural medium for me because of my heavy background in Graphic, particularly Pen and Ink and Scratch board which is also a light engraving technique. My limited exploration in the medium is based on the complexity of doing great work. other than simpler line work, Intaglio is labor intensive, messy and you can't dress Cool because everything you wear gets permanent ink on it. I see it as another possibility, but since I am Image oriented in graphics, I can directly draw with efficient Technical Pens or like i did in the beginning, I did fairly large Pen and Ink Drawings in Crow Quill Pen
Drawing in intaglio is actually easier, but to render the drawing ( which is on wax - on metal ) you have to dip the plate in acid that engraves everything you scratch into the wax. You find you image among thousands of possibilities by "Wiping" smooth top surface of the plate and leaving the Ink in the acid engraved grooves. How you "Ink and wipe" is essential to your quality. When you are a print maker, you produce "Editions", numbered... #1 of 100...#2 /100, etc. Wiping 100 same quality intaglio prints that have a lot of shading is particularly intensive. but that is why this medium required superior drawing skills and application of the fundamentals of depth, light, shading and perspective. Editions are a choice. While I would do a large edition of wood or linoleum block prints. intaglio is a medium where I would do small editions.