coming soon
SCULPTURE
In distinction from painting, sculpture, thanks to its three-dimensionality, interacts actively with the space. Despite a of variety of materials and techniques there are only two types of sculpture: relief and sculpture in the round. The possibility of round observation makes it necessary for a sculptor to carefully consider composition from all sides. Relief sculpture is structurally connected to the background and designed for frontal observation.
For 5000 years bronze has remained the favorite material for sculptors because of its unique qualities. Bronze is equally suitable for miniature or monumental sculpture. It is durable and long-lasting, can be polished and will accept any nuance of texture.
It is characteristic of metals to oxidize in the air. The thin film of oxide on a bronze surface will mineralize with time and became a patina. The process of the natural development of patina takes decades and even hundreds of years. The durability of a patina preserves the bronze from corrosion even under the influence of sea air. There are many ways to apply a man-made patina. Skillfully applied patina emphasizes and enriches the excellence of a bronze sculpture and presents genuine pleasure for a connoisseur.
DRAWING TECHNIQUES
Drawings are distinguished by the predominance of lines, or the linear element, in the image. There may be shading, tone, highlights and shadows, or washes of color, but the predominant effect is linear. Since the Italian Renaissance, drawing has been appreciated in its own right as a distillation of artistic expression, capable of great subtlety and symbolism; the poetry of visual language.
Drawings are done directly on paper or other material, and methods can be very simple or highly sophisticated. Our selection includes a variety of mediums: pencil, pen or brush and ink, and oil pastel. They were chosen for their spontaneity and immediacy of feeling as well as their quality.
ETCHING / INTAGLIO TECHNIQUES
Etching techniques, known professionally as intaglio, involve scoring the plate in some manner to create a channel below the plate surface which traps ink. This can be done by directly carving into the plate surface using techniques such as drypoint, mezzotint, engraving or sandblasting. Alternatively, an acid bath is used to bite into the plate, as in etching, aquatint, and lift-ground. Various intaglio techniques can be combined to form an image on one plate. After the image is created on the plate, ink is applied and the plate surface wiped clean, leaving ink in the spaces and lines created below the plate surface. Paper is carefully positioned on top of the inked plate and together they are run through a press whose pressure causes the ink to be transferred to the paper.
With ACID ETCHING, the plate is coated with a resist or "ground" and the artist scratches through the ground with a sharp instrument. It is then immersed in acid until the acid has bitten the plate deeply enough to hold ink. The ground is then removed and the plate inked. Excess ink is wiped off the plate surface before it is run through the press. Using registration, an image can be built up with multiple passes through the press. Plates are usually copper or zinc, but steel, plastic or glass can also be used.
coming soon
MONOPRINT TECHNIQUES
Monoprints can be extremely rich and complex or the simplest of prints. The name "MONOPRINT" means "one image". Each print is as unique as a drawing or painting. In fact, monoprints are drawings or paintings which have been transferred to paper from another surface. The artist draws or paints, or sometimes both, on a metal, glass or plastic plate. Ink can be applied to the plate (additive) or removed (subtractive), which gives monoprints a look that is particular to this medium. Monoprints have an appearance that is particular to this medium.
