Photopolymer
Printmaking
Examples
of
works by Dianne Longley, Australian
Artists and Students.
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Unveiling
30 x 30 cm, 2001
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Liminal
30 x 30 cm, 2001 |
Four
(of Six)s
30 x 30 cm, 2001 |
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| Dissolving
Views
30 x 30 cm, 2001 |
Indiscoverable
30 x 30 cm, 2001 |
Remember
to Die
30 x 30 cm, 2001 |
Digital
files to plates - Dianne Longley
These
prints were made by scanning photographs and found images. They
were collaged together in Adobe Photoshop. The files were taken
to a film bureau where a film was produced using a stochastic
screen (cristal raster/mezzotint) rather than a halftone screen.
Thus, the tonal changes in the images resemble the continuous
tone quality of a photographic print. By manipulating the exposure
time, black lines can be wahsed out more deeply so that you
can combine intaglio lines and continuous tone on the one plate.
I am using Printight KM73 for these images as to date I have
found that this plate works best for photographic works.
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| Arbitrary
Preceptors
11 x 15 cm, 2000 |
Imperfect
Imbalance
11 x 15 cm, 2000 |
Diminishing
Departures
11 x 15 cm, 2000 |
Insignificant
Coincidence
11 x 15 cm, 2000 |
Hand
drawn images - Dianne Longley
These
prints were made by drawing an image on drafting film, and exposing
it onto Miraclon MS43 plate. The textured backgrounds were made
on drafting film as well. The two plates were printed together
onto Arches Rives 270gsm Warm White paper.
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| The
Golden Rose
32 x 40 cm, 1995 |
The
Symbolic Rose
32 x 40 cm, 1995 |
Moment
of Clarity
32 x 40 cm, 1995 |
Embarkation
32 x 40 cm, 1995 |
Solitude
32 x 40 cm, 1995 |
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| Wasteland
32 x 40 cm, 1995 |
Rose
of Illumination
32 x 40 cm, 1995 |
Ash
Wednesday
32 x 40 cm, 1995 |
Roses
through Time
32 x 40 cm, 1995 |
Cloth
of Gold
32 x 40 cm, 1995 |
Hand
drawn and computer generated images - Dianne Longley
These
prints were made in 1995 for a folio The Golden Rose. The
prints combine Traditional print techniques with digital imaging
processes. Drawn elements were scanned and developed in Adobe
Photoshop. The images were then taken to a film bureau and printed
to film. The film was exposed onto Toreleif WS95 photopolymer
plates. The plates were inked in relief inks and printed into
Velin Arches 300 gsm paper. Small details in the prints were then
hand-coloured.
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