This image is of Longrun Lake in Taunton, Somerset. The image was sketched as a lithograph in-situ and worked on back in the studio. A series of prints were made from the initial plate, exploring ways in which to manipulate the plate to create a more atmospheric image, allowing both chance and intention to play their part in its creation.
The image capture the trees, bushes, rushes and lake with a misty look in its execution.
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This image was created through a process known as Aluminium Lithography, developed from the Lithographic process of oil and water resist. These prints are very limited and each are generally unique, being that they are not like stone lithography and off-set printing methods where a few can be pulled.
Usually this process allows me to create an Artist Proof for my archive and one or two main prints for exhibition/ sale before the aluminium foil is destroyed, ensuring a very limited amount of these prints in circulation. Sometimes this printing method will allow a couple versions to be pulled from the plate, but each print can change through the gradual degradation of the aluminium surface, leading to a more aquatint form of printmaking.
Aluminium Foil, Chinagraph Pencil, Oil Based Etching Ink, Rosapina Fabriano.
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This image is of Longrun Lake in Taunton, Somerset. The image was sketched as a lithograph in-situ and worked on back in the studio. A series of prints were made from the initial plate, exploring ways in which to manipulate the plate to create a more atmospheric image, allowing both chance and intention to play their part in its creation.
The image capture the trees, bushes, rushes and lake with a misty look in its execution.
***********************************************************************
This image was created through a process known as Aluminium Lithography, developed from the Lithographic process of oil and water resist. These prints are very limited and each are generally unique, being that they are not like stone lithography and off-set printing methods where a few can be pulled.
Usually this process allows me to create an Artist Proof for my archive and one or two main prints for exhibition/ sale before the aluminium foil is destroyed, ensuring a very limited amount of these prints in circulation. Sometimes this printing method will allow a couple versions to be pulled from the plate, but each print can change through the gradual degradation of the aluminium surface, leading to a more aquatint form of printmaking.
Aluminium Foil, Chinagraph Pencil, Oil Based Etching Ink, Rosapina Fabriano.
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