The Origins project
The images in this exhibition explore
techniques beyond the limits of traditional block and intaglio printing processes.
Through the inclusion of raw materials
sourced directly from the locations
depicted in the works, the inks evoke a sense of land and place, offering an added dimension of authenticity to the images.
About this exhibit
The Origins project is a showcase of a series of prints that highlight urbanscapes and landscapes, using relief and intaglio techniques.
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Inspiration comes from etchings, engravings and early photographs of city scapes and pastoral scenes from the past, and the artist's aim is to capture the essence of those works in unique prints that reflect the beauty of urban areas today.
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To achieve this goal, inks that are derived from raw materials found in the areas being depicted have been employed. This lends a unique quality to the finished work while also establishing a connection between the artwork and the geographical locations that inspired it.
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The Artist's fascination with the print-making process stems from its ability to capture intricate details and textures with stunning accuracy. Working in relief and intaglio techniques, the ability to arrived at the desired aesthetics of the landscapes that serve as the primary subject matter, is achieved.
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In conclusion, this project of creating prints featuring urbanscapes and landscapes using relief and intaglio techniques is a testament to the artist' passion for art and authenticity. By using inks derived from raw materials and drawing extensive pigment research, the artist is able to produce prints that capture the essence of the geographical locations that inspire them
Materials
Sourcing and making pigments
​​SOURCING and REFINING THE RAW MATERIAL
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​​The process begins with seeking out specific materials these may be minerals or organic. Many many things can be used to make a pigment, however thought must be given to the longevity of the resulting colourant. In the past dyes have been derived from grinding and refining plant material which can produce some amazingly bright colour - however these colours most often prove to be fugitive and fade away to a very washed ghostly version of their previous brilliant selves - sometimes in a very short period of time, months or just a few years. This fugitive nature is something that needs to be avoided in best practice of producing art work.
With that said there are many materials that can be used from plants.
Banksia pods, remnants of charcoal, and stones from the shore or path are just a few examples those things that can possibly be used.
These materials, chosen for their potential to be calcined (heated with limited oxygen) or crushed and refined, form the heart of the inks.
A knowledge of chemistry and reading will help to refine a search for materials that will last the test of time.
Sourcing these materials directly from the landscapes depicted in the artwork creates an intimate connection between art and place.​
For example banksia pods can be "roasted" in a tin, a small hole is made in the otherwise sealed tin, this allows a small amount of oxygen in - and stops the tin from exploding! Restricting the oxygen stops the pods from burning when they are heated, which is done in a an open fire (or furnace. The end result is a form of charcoal - which is a form of black pigment.
Found rocks can also be turned into a pigment. By crushing them using a rock crusher or mortar and pestle, then washing the resultant material, done by mixing with water then letting rest for several days, then pouring the water off the top and repeat several time - this removes any soluble impurities leave this to dry then using a series of sieves to make sure the particles are small enough to be used in an ink.
Ink Making
​Once the pigment has been sufficiently dried and ground to a fine particle size it is added to the vehicle and binder which in the case of intaglio inks is an oil - the oil used in this project is soy oil.
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On a glass slab, using a muller, the fine “pigment” is combined with oil and other ingredients to produce the ink, which will have the consistency of a thick paste.​​
Print Making
the process of printing
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Preparing the plate
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Preparing the Canvas: A plate, often made from plastic, zinc or copper, is etched or engraved using the "drypoint technique". Sharp tools are used to carefully carve the desired image into the plate's surface, creating grooves that will hold ink.
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Inking the plate
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The above plate is “inked” up, a process in which the ink is spread out over the plate and then removed from all areas but those that have been incised into the plate - these are the lines and marks that will be printed.
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Printing the plate
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Finally a damp piece of paper is laid over the plate and then run through a “press” under pressure. The pressure of the press pushes the dampened paper into the incisions on the plate, and the paper picks up the ink - thus transferring the design to the paper.​​​
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