top of page

All my original prints are concieved of and created within a particular printmaking process such as Lithography (either stone and/or ball-grained aluminium plates), Intaglio, Silk Screen, Relief Printmaking, or a combination of these four processes. Some editions also contain handwork Prisma colour conte sticks and/or water colour), and collage elements.

 

Hand printed Aluminium Plate Lithograph
Paper: Arches 100% archival cotton rag paper
Paper Size: 56.4 x 76 cm; 22 1/4" x 30"
Image Size: 56.4 x 75 cm; 22 1/4" x 30"
Number of Prints in Edition: 4. Numbered: 1/4 - 4/4
Artist's Proofs: 0
Studio Proofs: 0
Number of Prints Available: 4
Price: $505.00 Canadian

About the Image: as an art student in the 70's, I was given a thorough grounding in the concepts of abstraction. "Protractor II" reflects my attempts to give a 2-dimensional surface the appearance of a 3-dimensional space.  Visual movement, across and through space, is created by various colours, and their visual relationship to each other. I was creating "Abstract Environments" in which colour, light and texture, and the juxtaposition of these elements, could create the “sense” of a 3-dimensional space.

Protractor II

C$505.00Price
  • This is an original work of art created within the printmaking medium of Aluminium Plate Lithography.

    Method: I print all my own work using either a direct pressure lithographic press, or an etching press. My Editions are small, with 2 to 15 prints per Edition. Most of my lithographs are multiple colour images with up to 25 separate colours and/or colour blends per image. Adding more image elements requires the use of a separate stone or plate: either a silky smooth, perfectly level lithographic stone (limestone), or a ball-grained 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. Before printing can occur, the drawing materials need to be replaced with lithographic ink, and a "second etch" applied. Once again, this etch is left to sit overnight. This reduces the chance of image loss during the Proofing stage. The image is 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 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 have always found this to be the most interesting and exciting aspect of creating original works of art in printmaking.

    Canadian Print Documentation Form

    Purchase of any of my Original Prints includes a copy of the Canadian Print Documentation Form. This form is endorsed and supported by the Canada Council Art Bank, Canadian Museum Association, Malaspina Printmaker’s Society, Ontario Association of Art Galleries, Open Studio and Professional Art Dealers Association of Canada. It documents the number of runs, colours, and procedures that I used when creating a particular image. It is proof that the work is an Original work of art as opposed to an “Off-Set Reproduction”, "Poster" or “Fine Art Print” of a pre-existing work of art created in a different medium, such as painting or drawing.

bottom of page