B I O G R A P H Y JANE BANQUER studied at the DeCordova Museum, the Boston Museum School and at Smith College with Leonard Baskin and Amy Namowitz Worthen. She is a state juried member of the League of New Hampshire Craftsmen, where she served to set fine art print and photography standards and to review the work of new artist applicants for exhibition and sales throughout the state. She is also represented by the New Hampshire Art Association, Addison Woolley Gallery in Portland and Small Works Gallery in Camden, Maine and formerly by Wenniger Graphics, Newbury Street, Boston, among other regional galleries. She has worked as a master printer, illustrator, graphic designer, arts educator and program manager in the visual and performing arts. I N T A G L I O P R I N T M A K I N G Etching is an “intaglio” process, creating a transfer image from a metal plate to paper under intense pressure. The plate is first coated with a waxy acid resistant material, which is then incised with a drawing tool. When the metal sheet is immersed in acid, a line is bitten everywhere the resist has been pushed aside by the drawing. A dense ink is then spread over the entire sheet, worked into the etched depressions, and wiped clean leaving ink only in the grooved, or intaglio, surfaces To print the image, dampened rag paper is laid over the plate on the flat bed of an intaglio press and rolled between steel rollers, pulling ink out of the etched areas and depositing it on the paper. Prints with multiple colors and layered images are created with numerous plates in separate passes of the press. A fine intaglio print which is hand-wiped and pulled will always reveal the plate contour as a physical depression in the paper. Occasionally, an impression is created exclusively from a heavily textured plate that is printed without any ink. This low-relief process is known as embossing. Collagraph is printmaking from plates that are collages: a word derived from the French verb “to glue together.” Almost any materials are appropriate for collagraph that can withstand the printing pressure to produce an edition. These plates are often made on a base of matboard or masonite, then built up with layers that will hold ink and impart color and texture to the printed sheet. As contrasted to the intaglio method, woodcut and linocut are relief prints where areas that are not intended to print are cut away with gouges and knives and the intact surface is rolled with ink and printed under hand pressure. Color prints consist of either individual registered plates for each shade or the reduction method where the same board is progressively cut away to layer colors one over the other until little is left of the original board, printed with the darkest highlight. A signed numbered edition indicates the size of the entire run and the position of each individual print in a fraction written at the left-hand edge of the paper. The total edition number is stated as the fraction denominator and each print as the numerator. A label of A/P indicates a limited “artist’s proof,” pulled outside the full edition. The hand-written edition numbers and artist’s signature should be separately penciled at the base each print, not reproduced into the image. Because hand printed, limited edition, fine art prints are produced in multiples, they can be affordably priced for display or investment. |
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