What follows is a typical example of embellishment techniques used by the artist and the process it goes through in stages >PRINTING (see top image)
Professional pigmented inks are used in a giclee printer to print the image that has either been scanned from an original painting or, if the painting has been sold, from an archived image on CD or from a large format transparency of the work.
ON WOOD PANEL
After printing, the print is mounted on MDF framer’s panel (below). It is then cut by hand with a craft knife to ensure accurate size wanted. It is then turned over and guillotined to give a slight extra clearance for insertion into a frame.
Framer's MDF panel is used because it can easily be cut with a craft knife and guillotined and so ensures the edges of the print when glued to the panel are flush and neat and tidy. It also facilitates placement into a picture frame since that is precisely what it is manufactured for. It is also lightweight so is useful when the picture is hung on the wall which reduces the risk of excess frame weight pulling on a picture pin and falling from the wall.
To enable the application of both oil based and acrylic paints and especially allow smooth glazing, the print is very lightly hand painted with an acrylic coating specially prepared by the artist to be very thinly spread across the print to seal the ink and paper surface. This coating then allows the application of paint either in water-based or oil based forms, offering the artist the flexibility to match the embellishment to the original oil or acrylic techniques used in the original painting. Essentially, it is the exact same technique that the artist uses in the original art itself.
WITH (RARE) PIGMENTS
All manner of pigments can be used but always, without deviation, they are of the purest quality obtainable and where the imagery suggests it would be appropriate rare and expensive pigments are incorporated, such as >
what it says, real gold powder, and mixed by the artist into a binder
to fix it to the surface of the print. Due to its expense it is
typically used to highlight small specific or decorative elements in a
painting where the image suggests such addition would be appropriate.
An art in itself, and all the above techniques can be applied to greater or lesser extent as dictated by personal preference, by the subject matter of the image, the area in which the final work may hang and any other consideration the purchaser considers suitable.
Since the late 1970s the artist has used Liquitex Gloss, Matt, or Satin finished varnishes to finish-off the final presentation.
There are many ways in which the final varnish can be applied, the actual choice typically suggested by the way in which the original painting was created, which varied from time to time over the many years the artist has been working.
It may be applied with a soft brush and more, or less, brushwork can be shown if the picture suggests this should be the case, mainly in terms of its subject matter if more recent. If on the other hand the print if of a painting done many years earlier, perhaps as far back as the 1970s, then the finish applied is usually sprayed on to emulate the way in which the artist delivered his paintings to publishers, usually coated with a now long defunct spray lacquer called Frisklac and so a modern Liguitex spray varnish is used which approximates and in fact is a better option than the original Frisklac in that it is a professional artist's varnish rather than a lacquer.
Like his paintings in the 1970s through to late 1990s prints of works of that era are presented in a matt finish as they were then to enable the publisher's photographer at that time to photograph the paintings for reproduction, the matt finish being effected to avoid glare and hotspots on the final transparency. In the same vein, the prints of works of that era are finished matt to avoid refection from domestic room lighting.
In the case of more contemporary works the matt effect is produced by vigorous brush work to emulate the effect f presentation in an art gallery.
A printed certificate of authenticity (usually mounted on the back of the print but sometimes by preference in a separate smaller accompanying frame) details the title, edition length (never more than 250) and date of hand embellishment. It too, as with the print itself, has the artist's signature on it.
The whole embellishment process is designed to turn each individual print in a print run into a piece in it's own right and although part of an edition is unique since each print differs simply because each is treated to individual personal attention during the embellishment process.
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