An Atelier 17 technique, the colour is mixed
with thin oil and rolled onto a glass slab. The plate is turned upside down,
and hit or pressed at selected areas to pick up colour from the slab. The plate
is then rolled up with surface colour, through which the brilliant highlights
of the contact colour will appear.
Drypointed scraper prints:
The techniques was first developed at the Atelier
17, and is used mainly on zinc plates. The plates are deeply/sculpturally
scored with a scraper, and often combined with etching, aquatint and other
Engraved prints on plastic:
Developed in conjunction with the sculpture,
these PVC plates are engraved by hand and/or by machine, mezzotinted, scraped,
drilled, etc. This technique is effective when combined with colour as the
plastic material does not interfere with the colour.
Heat-branding for printing:
PVC sheets are burnt, or branded with hot wire
or electric solder. A powerful embossed line emerges which can be printed by
intaglio or surface inking.
Thin brass plates, plastic plates or acetates
rolled up in colour and placed in several layers, on top of the base plate.
They can be stuck to the underlying plate but are mostly used as movable
Folded brass plates:
Three dimensional constructions made out of thin
brass, which can be hammered, engraved or drypointed. The constructions are
flattened under the press and used with various base plates.
Space Engraving / Sculpture:
Sculpture of transparent volumes, line or
machine engraved on acrylic surfaces. The mechanical engraving is done either
with a hand held router or a pantograph. Some of these works could be editioned
with the pantograph but are mostly unique.
The name used in England for acrylic while in America it is
referred to as lucite.