Magic in the Darkness
(Working title) Intaglio printmaking
For extended periods of time, from 2009 to 2015, I studied the classical european fine arts in the french traditional way; which is through the practice of apprenticeship and courses at the various ateliers des beaux-arts in Paris. I studied at four different Ateliers and I took up various subjects like drawing, sculpture, ceramics, pottery and printmaking. I got particularly interested in Gravure or Etching as it is known in english and I got acquainted with the practice of Intaglio printmaking. I learnt various techniques like L'eau forte, L'aquatinte, gravure au sucre and also explored photogravure in London. In the process of learning what appealed to me about intaglio printmaking was the effect it can create in black and white prints. The quality of light it can reproduce is very similar to that of vintage black and white film camera photographs, but what is special about it is its ability to also incorporate drawing within the same effect. This quality makes it a beautiful way of creating new imaginary landscapes in illustration.
It can be used freely in expressing ideas metaphysical in nature. I believe that in printmaking the drawing
can be there to only suggest the presence of an idea and not for confirming itself. It can float
within the constraints of the paper rather than conforming to its surface. It can be there like a faint
scent in the air. It can be there to make a ghost
appear and disappear in a dark space.
For the print shown above I have used photogravure. First I made a painting with acrylics on a slice of wood and then transferred it onto a photosensitive film to create the plate. To print, at the printing press, I have used black intaglio printing ink.
Below is a drawing for an etching to be made using
L'aquatinte and L'eau forte.
To know more about the ateliers I trained at, go to the About me page.