Here is a straightforward, comprehensive reference on the art of color printmaking created by Krishna Reddy, one of the world’s greatest and most innovative printmakers. This book doesn’t expect the reader to know a lot, but at the same time, it doesn’t omit any technical detail. There are complete formulas, lists of materials and equipment, and step-by-step instructions documented by photos.
An outstanding innovator and experimenter, Krishna Reddy sees the plate as a sculpted surface, and intaglio printing as a three-dimensional process. Reddy creates a philosophy for working the image. By varying ink viscosity and roller density, he has achieved colors of extraordinary complexity on the plate. Reddy’s discovery of the principle of color viscosity has greatly simplified technical processes while at the same time increasing the expressiveness and intensity of the image. This book demonstrates the intimate connection of the artist with his materials.
Krishna Reddy’s artistic genius brought him universal acclaim: fifty one-man exhibitions have been mounted not only in the U.S. and Europe, but also in Montreal, Bombay, Melbourne, New Delhi, Buenos Aires, Tokyo, and Beijing. He serves on numerous award juries, ranging from the Society of American Graphic Artists to the Lalit Kala Akademi of India.
But it is not his artistic prowess alone that uniquely qualified Krishna Reddy to write a book on printmaking. He is also a consummate teacher: “He can initiate people to an entirely different field of expression,” observes a collaborator at Paris’ famed Atelier 17, which Reddy directed for more than 10 years. Today he directs the Graphics Program at New York University.
About the Author
Krishna Reddy is Professor of Art and Artist in Residence at New York University. A sculptor and printmaker, he has lived and worked in both the U.S. and Europe. Reddy, born in India, was educated in India and the West. He has worked in the studios of Henry Moore in England, Marino Marini in Italy, Ossip Zadkine in Paris, and Stanley William Hayter’s Atelier 17 in Paris, where he first began to develop his unique printmaking technique.
Table of Contents
Significance of Materials and Processes
Processes as Experiment and Exploration
Life of Materials
State of Mind and the Environment
New Ways of Simultaneous Intaglio and Surface Color Printmaking
Introduction to Simultaneous Structuring of Intaglio and Surface Colors in Printmaking
A Brief History of Color Printmaking
Plate Preparation: Materials and Processes
Soft Ground Etching
Halftone Processes by Aquatint Method
Relief or Deep Etch, Open-Bite
B. Tools: Hand and Machine
Photo Image Building
Color Printmaking: Materials and Processes
B. Viscosity Processes in Color Printing
Color Viscosity: Its Nature and Behavior
Juxtaposition of colors
Superimposition of colors
Experiments in Viscosity Processes
Preparation of the Intaglio Plate and the Inks
Experiment A: Printing by Juxtaposition of Colors
Experiment B: Printing by Superimposition of Colors
Experiment C: Printing in Color in the "Pointillist Manner"
Experiment D: Printing by Separation of Intaglio and Surface Colors
Experiment E: Printing without use of Viscosity
Simultaneous Color Printmaking by Combination Processes
Other Color Printmaking Techniques
From Multiple Intaglio Plates
From "A la Poupée" Intaglio Methods
Intaglio with Lithographic Plates
Intaglio with Screen Printing
Problems in Color Printmaking
Maintaining Viscosity of Inks
Controlling Tackiness of Inks
Scumming of Colors
Bleeding or Running of Intaglio and Offset Inks