Sentences with phrase «sugar lift»

John Cage, 75 Stones, 1989; Color spit bite aquatint with sugar lift aquatint on smoked paper; 54 x 41 inches; published by Crown Point Press, San Francisco.

Julie Mehretu (Ethiopian, b. 1970) 2005, color sugar lift aquatint with aquatint, spit bit aquatint and hard ground etching on Gampi paper chine - collé, 35 1/2 in x 46 3/4 in, edition 35

Etchings with sugar lift aquatint and scraping, image 12 x 9 inches each, sheet 15 x 11 1/2 inches each.

Using an array of innovative techniques that still puzzle scholars (including his famous sugar lift etching method), Segers created extraordinarily resonant, melancholic landscapes characterized by luscious, soft lines, that resemble nothing by his contemporaries and little that has followed since.

Other marks and lines were then added, using spit bite and sugar lift ground — both painterly techniques — to expand on and reinforce the composition.

Master Printer Sam Carr - Prindle helped her incorporate custom - made stencils from her studio in New York into copper plates mainly by using a modified sugar lift aquatint technique.

Work by art handler Maho Kino shows real expertise at sugar lift in the etching studio with a great stock of Japanese handmade paper.

Color sugar lift aquatint with aquatint, spit bite aquatint and hard ground etching on gampi paper chine collé.

Robert Kushner, O Aloe XXII, Harding Family, 2014 chin collé, sugar lift aquatint plate size 22 x 14 inches, sheet size 30 x 22 inches monoprint collaboration with Smith College, printed by Wingate Studio Purchase / Inquire

Intaglio, planographic colour etching, soft ground etching, sugar lift etching, aquatint and lithograph

His miniature Candy Apples (1964), made with sugar lift and measuring 5 x 5 3/4 inches, is a reminder of just how simple and direct great printmaking can be.

For her edition for the Whitechapel Gallery Ramsden has made a single gesture or «swipe» directly onto the copper etching plate, which has then been printed to create a varied edition of 35 sugar lift aquatints.

Series of five copper - plate intaglio prints: soft ground etching, spit bite aquatint, sugar lift aquatint, soap ground aquatint, open bite; image 59 x 39 3/8 inches each, sheet 63 3/4 x 43 3/8 inches each.

Day for Night State I, 2012 aquatint, sugar lift, white ground, burnishing, and hand painting by the artist 27.5 x 22.5 inches edition of 30 co-published by Smith College and Wingate Studio, printed by Wingate Studio SOLD OUT

Day for Night State II, 2012 aquatint, sugar lift, white ground, burnishing, and hand painting by the artist 27.5 x 22.5 inches edition of 30 co-published by Smith College and Wingate Studio, printed by Wingate Studio SOLD OUT

Untitled, 2005 set of five spit bite, sugar lift aquatint, and embossing 21 x 18 inches edition of 20 published by Wingate Studio Purchase / Inquire

Sascha Braunig, Stays, 2016 aquatint etching, soft ground, sugar lift aquatint, burnishing 39 x 28 inches edition of 25 published by Wingate Studio

Untitled, 2005 set of five soft ground, spit bite, and sugar lift aquatint 21 x 18 inches edition of 20 published by Wingate Studio Purchase / Inquire

Stripping even the minimal color used in the paintings foregrounds Taylor's fastidious attention to texture through etching, sugar lift aquatint and scraping.

Luna, 2005 six color hard ground etching, aquatint, spit bite aquatint, sugar lift, white ground, drypoint, and roulette 30 x 22.5 inches edition of 30 published by Wingate Studio.

Rainbow 6: Relayer, 2007 six color hard ground etching, aquatint, spit bite aquatint, and sugar lift 30.75 x 33.5 inches edition of 25 published by Wingate Studio Purchase / Inquire

Color sugar lift and spit bite aquatints with soft ground etching printed on gampi paper chine collé

Walton Ford, Pestvogel, 2016 six color aquatint etching with hard ground, soft ground, spit bite, sugar lift, and drypoint plate size 28 x 22 inches, sheet size 40 x 30.75 inches edition of 65 published by Kasmin Editions, produced and printed by Wingate Studio Purchase / Inquire Project and Artist Info

Chuck Webster, Houses Under the Sea, 2014 three color aquatint etching, spit bite aquatint, and sugar lift 38 x 43 inches edition of 15 published by Wingate Studio Purchase / Inquire

, 2014 chin collé, sugar lift aquatint plate size 22 x 14 inches, sheet size 30 x 22 inches monoprint collaboration with Smith College, printed by Wingate Studio Purchase / Inquire

Robert Kushner, Blue Iris, 2017 five plate aquatint etching with sugar lift, soap ground, and spit bite plate size 24 x 24 inches, sheet size 30 x 30 inches edition of 30 published by Wingate Studio Purchase / Inquire Project and Artist Info

Robert Kushner, O Aloe VIII, Landscapes, 2014 chin collé, sugar lift aquatint plate size 22 x 14 inches, sheet size 30 x 22 inches monoprint collaboration with Smith College, printed by Wingate Studio Purchase / Inquire

Robert Kushner, O Aloe XVIII, Transfer Prints, 2014 chin collé, sugar lift aquatint plate size 22 x 14 inches, sheet size 30 x 22 inches monoprint collaboration with Smith College, printed by Wingate Studio Purchase / Inquire

Robert Kushner, O Aloe, Hogarth I, 2014 chin collé, sugar lift aquatint plate size 22 x 14 inches, sheet size 30 x 22 inches monoprint collaboration with Smith College, printed by Wingate Studio SOLD

Robert Kushner, O Aloe XII, Japan, 2014 chin collé, sugar lift aquatint plate size 22 x 14 inches, sheet size 30 x 22 inches monoprint collaboration with Smith College, printed by Wingate Studio SOLD

Robert Kushner, O Aloe XIXI, Indian Documents, 2014 chin collé, sugar lift aquatint plate size 22 x 14 inches, sheet size 30 x 22 inches monoprint collaboration with Smith College, printed by Wingate Studio SOLD

He then created gentle washes of blue sky and weathered marks using the sugar lift and spit bite aquatint techniques.

Chris Ofili combined spit bit and sugar lift aquatints, hard ground etching, and drypoint to achieve a rich, varied texture in the romantic scene of embracing figures under a cave waterfall in «Last Night.

Artists working in the Crown Point studio bring their unique approaches to the medium, using hard ground etching, drypoint, sugar lift aquatint, and photogravure to name a few techniques.

Walla Walla State Penitentiary, 2016 8.5 x 11 inches, hard ground etching w / aquatint, sugar lift, spit bite & relief roll

Charline von Heyl, Nightpack (Red, Yellow and Blue), 2014, color sugar lift and spit bite aquatints with soft ground etching and drypoint on gampi paper chine collé (courtesy of Crown Point Press)

The sugar lift aquatint, incorporates carborundum and hand painting on 5 hand - torn sheets of Moulin de Gue paper and measures 96 x 240 inches.

Drypoint, sugar lift aquatint, and spit bite aquatint printed in black from one copper plate on Zerkall Bütten paper

Portfolio of five color sugar lift and spit bite.

Further exploration during his fellowship included the transfer of photographic images onto copper by silkscreening directly onto the plate with a sugar lift solution.

In this edition for the Whitechapel Gallery, Ramsden made a single gesture or «swipe» directly onto the copper etching plate, which was then printed to create a varied edition of 35 sugar lift aquatints.

Installation view of «Africans in America», from left to right: Odili Donald Odita, Highway, 2015, Acrylic latex on laminated panel 245 x 122 cm, © Odili Donald Odita; Julie Mehretu, Epigraph, Damascus, 2016, 6 panels; Photogravure, sugar lift aquatint, spit bite aquatint, openbite Hahnemühle Bütten 350 gr.