Exhibiting Member Since 2008
I began printmaking with Vincent Longo in college because he allowed me to pursue my realistic bent. I took all the life drawing I could, with summers and winter non-resident terms at the Art Students League of New York. After college I went on to the Medical College of Georgia and a earned a Masters in medical art. I had bought a Charles Brand press, which has followed me around over 40 years, and etching won out. I use photography as note-taking...much later, even years, images form and I begin drawings. I use vellum and either very soft pencil or charcoal which will transfer well to the prepared plate. I often print out the drawings on film to see how they reverse. Once on the plate I mostly work under a dazor magnifying lamp. I use 16 gauge backed zinc plate from Graphic Chemical Company and nitric acid exclusively now, and employ a hard/soft ground mix through several states for initial work. I usually use a rosin aquatint next, and burnishing after that. I use a number of printmaking papers such as zerkall book vellum and frankfurt that will take the very detailed aquatint, stipple and line I employ. If detail is not paramount I use some of the off-white Twinrocker papers such as calligraphy cream, and fine grit,and the lana royals and gravure. Some plates need double drop. I have come to prefer charbonnel inks, mixed to a sepia. For chine colle I use the smoothest calendered thin-text Twinrocker or Japanese kinwashi or unryu papers. My editions are usually 100, and all the variations go in the one edition. I enjoy the experimentation. I do all my own printing, matting and framing. My work is almost all monochromatic; I have always enjoyed the figure, I like the textures with animals, and seven years in NC are working their way into my landscapes.