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1. O desenho para impressão é preparado numa película de acetato transparente.
2. Película pronta a ser gravada, com o desenho bem definido a preto.
3. Gravação do desenho num quadro com emulsão foto sensível, numa prensa com luz ultravioleta. Todo o quadro fica bloqueado, exceto a mancha do desenho.
4. Abertura do desenho no quadro através da pressão de um jacto de água.
5. Pormenor do desenho aberto no quadro
6. Seleção da cor pelo catálogo de Pantones
7. Mistura de tintas para atingir a cor desejada, mesmo que não se encontre referenciada no catálogo de Pantones.
8. Impressão do desenho, onde a tinta atravessa apenas a zona aberta do quadro.
9. Secagem do desenho já impresso no papel.
10. Serigrafias finais (Artista: Ana Ventura / Desenhadora: Sara Rodrigues / Impressora: Rosária Graça
Screenprint, also known as silkscreen or serigraphy, was developed in the past century, but its origins are prehistoric.
In screenprint, the artist cuts an image. The cut areas are removed to create a stencil, which is then affixed to a screen made of fine mesh fabric (originally silk) stretched onto a frame. The frame is placed on a sheet of paper or other support; ink is then spread along the top of the screen and pulled down the fabric with a rubber blade, reaching the open areas of the stencil. This process is repeated for each different colour which means there are works taking several months to become finished.
Screenprint is the ideal technique for plain and straight compositions, without too many thin or big sized details, producing a dense, subtle and silky effect on the print.
1. Pedra litográfica desenhada pelo artista a ser tintada com um rolo. A tinta só adere nas áreas correspondentes ao desenho.
2. Colocação da folha a imprimir, humedecida, sobre a pedra.
3. Por arrastamento, o conjunto pedra-papel passa na prensa litográfica.
4. Já do outro lado da prensa, a imagem foi transferida da pedra para o papel.
5. Prova impressa da litografia
Lithography is one of the most direct print-making techniques, and allows artists to work just as they would on sketches or watercolours, without the intermediary steps and translational effects of woodcut or intaglio. It doesn’t require chisels or knives, burins or scrapers.
Drawings are made with a greasy material on a printing matrix. Then, the matrix is brushed with a chemical solution that helps bond the drawing to the surface. Then it is wiped with a solvent which dissolves most of the drawing but leaves a greasy, ghosted version of it. Next, the stone or plate is moistened with water, which is absorbed only by the blank areas. An oil based printing ink is applied, adhering to the positive parts of the image while being repelled from the wet parts. It’s based on the principle that oil and water doesn’t mix.
Finally, the inked matrix is placed on the bed of a press with a sheet of damp paper on top, and is run through the machine.
CPS is proud to have master Marçal for years working in CPS studio. He’s one of the few masters in lithography in Portugal and he still continues to work with CPS.
1. Matriz concebida pelo artista utilizando várias técnicas de gravação em profundidade, sobre placa de metal
2. A folha de papel a imprimir é colocada, humedecida, sobre a placa previamente tintada.
3. Por pressão, o conjunto placa-papel passa entre os cilindros da prensa de gravura.
4. Já do outro lado da prensa, a imagem foi transferida da placa para o papel.
5. Prova final de gravura
Intaglio is an umbrella term for a range of techniques – including engraving, etching, drypoint, aquatint, mezzotint, sugar lift, soft ground and spit bite – that share the same basic premise. With intaglio techniques, the composition is inscribed as a system of grooves for the ink to fill the matrix.
In some intaglio medium (like engraving) the metal plate is carved directly by the artist with a burin (a specific tool), while in others (like etching and aquatint), it is incised by chemicals.
In engraving, the most used, the artist carves a metal plate on which he applies one of the different techniques (Drypoint, woodcut, linocut, etc). The plate is then inked and the surface is wiped clean, though the grooves remain filled with the ink. It will be pressured against the paper through the machine and create a print. The work made by this technique has a different texture since the plate’s edges leave traces on the print, giving it a richer special feature.
Photography has been growing its importance in contemporary art and this led CPS to include and develop this technique in image universe and art creation. Being one of most emblematic expressions nowadays, photography editions help to perpetuate the modernity faces that are constantly changing and that, with this technique, keep in our memory like they used to be before.
Harold Cohen, "Serial ps070423.3", Estampa digital
Noronha da Costa, s/ título, Estampa digital
Ken Rinaldo, "Prontay", Estampa digital
Cruzeiro Seixas, "Figuras de Amanhã Olhando o Globo Terrestre", Serigrafia intervencionada com pintura e colagem
Valério Vidali, s/ título, Serigrafia e Gravura
DIGITAL PRINT AND HYBRID WORKS
Digital Print is a recent way of creating an image through an advanced digital technical development in printing methods: the used inks have decades warranty and the supports (paper, canvas, etc) have the same quality of those required for traditional printing (special fine paper with cotton, acid free, etc). The image is totally or partly created by the artist, in a digital way, only materialized when the final result is printed.
In CPS Studio the artist is free to use its creativity in any of the mentioned techniques or combine them, creating the Hybrid prints (Screenprint and woodcut, Engraving and Digital Print, Lithography and Screenprint, fragments of prints collage, etc). Besides paper (the most used and long lasting print support) the artist sometimes creates on canvas, silk, felt, leather or other materials.