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  • Writer's pictureChiara

The persistence of prints

Despite all my progress with re-worked whitework, I can't get away from the desire to make prints of my hands. I'm looking for a stronger element of protest and the power of the multiple.


Having rejected lithography and reached an impasse with my casting experiments I return to exploring possibilities for printing with transparency or embossing. My concept relies on the realism of the hand-print, so I'm back to the idea of soft-ground on copper, but I have developed some additional elements as the project has progressed.

  • oval shape for the plate +/- the paper

  • a border inspired by whitework embroidery patterns

First I need to get my copper cut to an ellipse. It could be done with multiple straight cuts on the guillotine plus a fair bit of filing. I turn to the Gold and Silversmithing studio to look for better approaches.

I'm told that copper is difficult to cut with a jewellers saw. The attempt is likely to take me the better part of a day or more and unlikely to be accurate.


On the other hand Sam, the G&S Technical Officer can cut my copper for me on their curved sheer. Yes please! And thank you!






I've developed a design for a floral border based on the embroidery elements from my from original whitework banner.



First I want to test using transparency to approximate a white-on-white effect.










I choose sanguine and transparent base inks as a starting point, but seriously underestimate how much transparency I will need.










Many additions of transparency later I think I'm getting close to something I can use, but the print (below right) looks muddy and brown. The ghost (below left) is better. So I would need to make an even more transparent mixture to achieve my purpose.


What about embossing, though?



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