Chantecler

This is an original work of art created within the printmaking medium of Stone and Aluminium Plate Waterless Lithography.

Method: I print all my own work using either a direct pressure lithographic press or an etching press. My Editions are very small with 2 to 10 prints per Edition. The majority of my lithographs are multiple colour images. They can have up to 25 colours and/or colour blends per image. Each aspect of the image requires a separate drawing. This is done on either a silky smooth, perfectly level lithographic stone (limestone), or an aluminium plate. I draw directly on the stone or plate using a range of grease based Lithographic Crayons (#5 - #1). I often incorporate either water or solvent washes made from tusche paste to create certain "wash" effects. Once the drawing is complete and the washes are fully dried (overnight), the image is "etched" and allowed to sit overnight a second time. Before printing can occur, the drawing materials need to be replaced with lithographic ink, and a "second etch" is applied. The image is then proofed in black before moving into colour. Each colour is mixed and printed by hand,  and each colour requires a separate printing.  Colour blends are a convenient way to print multiple colours during a single printing. They also impart interesting colour effects to the image. In many instances I destroy the image as I create it because I use a Reduction Process in order to remove parts of the image before I print the next colour.

Printmaking is generally a time consuming process but each printmaking medium has unique visual characteristics that are not found in any other medium. I've always found this to be the most interesting and exciting aspect of creating original works of art in printmaking.

Purchase includes a copy of the Canadian Print Documentation Form filled out by me while creating this particular work of art. This form documents the number of runs, colours and procedures that I used when creating this particular image.

Framing: Please use Museum Quality, acid free archival materials when framing your original works of art. Quality products not only enhance the appearance of the work, they also help maintain the longevity of the piece. Materials such as cellotape/scotch tape and matt board products made from wood pulp, or that contain wood pulp, will permanently damage the art work over time.

Placement: it is important to understand where to hang your artwork in your home, office, or studio. Ultraviolet light will quickly cause printing paper to become brittle and printing inks to fade or become discoloured. Yellows and reds are particularly susceptible to damage from ultraviolet light and are the first colours to disappear under strong and/or direct sunlight. Because of this PLEASE hang the work you purchase in a room that has indirect or subdued sunlight. Humidity can also affect works on paper, so it is advisable to hang the work in a well ventilated, low humidity area and on a wall that is not exposed to extreme fluctuations in temperature.

Copyright

Lindsay Embree Artist retains all copyrights on images. Copyrights are not transferable with sale.

As a Fine Arts student I studied a lot of Art History. This image was inspired by the predella which runs along the bottom of Italian altarpieces. It contains narrative scenes that are related to, and that expand upon the life of the subject of the larger image. My version shows the “Life of the Clear Singer”, or “Chantecler”.  He is conceived, is born, grows to adult hood and is then killed for supper.  Perhaps somewhat "twisted" but inspiration comes from many sources.