The Mythical Rainforest: State I

This is an original work of art created within the printmaking medium of Colour Etching. The image is inked in a mixture of 50% Burnt Umber etching ink / 50% Peacock Blue litho ink.

Method: Once I am satisfied with the image, I print the edition using either black etching ink or a combination of coloured etching ink and modified litho ink. The paper is pre-soaked in water for two hours, blotted to remove the excess water and sealed in a plastic bag. It is left overnight to allow the water to "equalize". The paper feels only slightly moist when I am printing the edition. I print all my own work using either a direct pressure lithographic press or an etching press. My Editions are small with 2 to 10 prints per Edition.

Double Plate Printing: The plate for this image has been printed twice. The first print run was done in a Dark Yellow litho ink. The plate was then inked and wiped a second time in a  Thalo Blue etching ink. The paper carrying the first colour (yellow) was re-registered to the  (blue) plate and run through the etching press a second time. The resulting subtle variations in the "mixing" of the two colours gives the image a gentle sense of depth.

Printmaking is generally a time-consuming process, but each printmaking medium has unique visual characteristics that are not found in any other medium. I find 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 work of art. This form documents the number of runs, colours, and procedures that I used when creating this image.

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.

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.

Concerning Etchings: the usual procedure is to cut a window matt that is 5mm or 1/4" larger than the printed image. The window is also cut large enough to  show the Title, Edition Number, Signature of the Artist and the Date. 

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.