Virtual Open Studios Fall 2022 - ART 162A Intaglio I
Instructor - Sarah Sanford
Alex Yu
“Matzah and Milton”
Intaglio Print on Rives BFK (22x15)
This piece is a memorial for my pet rats who passed away recently. I used different Intaglio methods to etch the lines, and aquatinted the plate to get various tones.
“Point Reyes Lighthouse”
Intaglio Print on Rives BFK (22x15)
This print was made using different Intaglio techniques to etch the lines with hardground, and using aquatint to get various tones. I was inspired by a picture I took while visiting the Point Reyes Lighthouse during the Spring.
“Soft”
Intaglio Print
Intaglio Print on Rives BFK (15x 7.5)
This piece was inspired by a random word that was prompted to each class member. The word I drew was “soft”. I wanted to pick a subject that challenged the boundaries of this word, and chose to etch a jellyfish due to its soft flowing nature, but also in some cases, deadly to the touch. I used hardground for the etching technique.
Anya Chytrowski
“Forest Dweller”
Etching
“Untitled”
Etching with soft ground
“Curses”
Etching with aquatint
Beatriz Juárez
“Para Teresa”
Etching on BFK Rives
Print informed by relic and catholic iconography.
“Elle”
Etching with aquatint on BFK Rives
“Paloma y madre…”
Etching with aquatint and chine collé on BFK Rives
A tale that is made possible by geometry and flow. In this space there is possibility for a reemergence.
“& it comes back to me”
Etching with soft ground and chine collé on BFK Rives
The beginning of a print series that explores tactile experiences, writing, and the space in which memory waits to be received.
Bella Tuell
“Window”
Hardground Etching on Copper Plate
4 ½ x 6”
This intaglio print is meant to be left up to the interpretation of the viewer. A window acts as a dynamic viewpoint; perhaps evoking senses of voyeurism, dread, and drama. What is the figure in the etching looking at? What moment are we looking in on? This piece uses a stark contrast of light and dark to enhance the drama of the situation.
“Escape”
4 ½ x 6”
Softground Etching on Copper Plate, Lace imprints
This intaglio print is meant to evoke a sense of childlike wonder and fantasy, and contrasting that to its morbid backstory. A death tradition when a loved one nears the end of his or her life, a window is left open for the soul of the loved one to pass through once they have died. A window, in this case, used for an escape into the unknown.
“Time is the Fire in Which We Burn”
9x12”
Hardground, Aquatint Etching on Copper Plate, Chine Collé
Inspired by the psychological horror of Goya’s etchings, this intaglio print explores the passage of time and aging. Chine colléed under the print is a birthday letter from my mother, in which she ends the note in a line from the poem Calmly We Walk Through This April’s Day, by Delmore Schwartz: “Time is the fire in which we burn.”
Dominique Branch
Opposites
Softground
This print was meant to use the subtle and soft look of softground, along with the lace texture to evoke the playfulness and sentimentality of the stuffed and unstuffed rag dolls.
Doll House
Hardground, aquatint, and spitbite
This aquatint print means to separate the individual spaces within the dollhouse and explore a range in values.
Doll House
Hardground, aquatint, spitbite, and chine colle
This aquatint print means to separate the individual spaces within the dollhouse and explore a range in values, contrasting with the chine colle. The chine colle also adds to the soft sentimentality of the rag dolls and the innocence of childhood.
Untitled
Softground and chine colle
This print further emphasizes the theme or completes the story expressed in the prior three intaglio prints.
LokWai Dorothy Li
“2D vs. 3D”
Intaglio print with Hardground, Aquantint, and Chine-collé
“Love & Magic”
Intaglio print with Hardground and Aquatint
Untitled
Intaglio print with Hardground, Aquatint, Chine-collé, and À la poupée
Emily Claridge
“Insects…”
Intaglio Copper Piece; Hardground, Softground, Aquatint: White Ground
This piece of work depicts insects inside of picture frames. This is because I view bugs as beautiful living creatures that need to be preserved.
“SHROOMS”
Intaglio Copper Piece; Aquatint with Chine-collé and A la poupée
This piece is meant for the viewer to ask themselves about what actual reality is.
Intaglio Copper Plate; Hardground, Softground, Drypoint
This is a picture of an Ochre Sea Star. The theme for this print was “Love and Magic”, and I believe the ocean contains the most beautiful and magical things in the universe, and Sea Stars are just one of them.
Irwin Pineda
“Stole My Heart”
Intaglio Print on Rives BFK
This depiction of a heart trapped in a glass vessel was inspired by a random word that I drew from a cup at the beginning of our course.
“Carmilla”
Intaglio Print on Rives BFK
This Artwork was part of our student exchange series. It is inspired by the first vampire story to feature a female Vampire “Carmilla,” in 1876.
Jessica Parham
“Untitled”
Intaglio Print; Hardground and Aquatint
This is a print of an ornament that is on my tree during the holidays. I have had it ever since I was a little kid, and it holds a special place in my heart. This print represents love and magic to me.
“Untitled”
Intaglio Print; Hardground, Softground, and Aquatint
This is a print of a woman and leaves from a redwood tree. This woman can resemble mother nature in many ways, but mainly I wanted to capture the connection humans have with our environment. She is depicted in a more vulnerable state and is morphing into nature. Our connection with nature is precious and should be valued and cared for with love.
“Untitled”
Intaglio Print; Hardground, Whiteground, and Aquatint
This print is of a bench I would use to go and sit at for hours. It’s located at a park back in my hometown, and it is very nostalgic for me. I wanted this piece to resemble a dream-like setting, almost fever-dreamy, and for it to look like everything is distorted around you.
Kaia Myall
Untitled
Hardground, whiteground, and aquatint
This intaglio print is meant to play with perspective and space with experimentation of tonal ranges through aquatint.
Untitled
Hardground and aquatint
This print is intended to explore the interaction between the dead and living, and portray the symbolism of protection and resilience both subjects hold.
Pele and Kaui
Hardground and aquatint
This print conveys the relationship of the legendary love flowers (Naupaka blossoms) that visually display half a flower, and when placed together, they form a whole flower.
Untitled
Hardground
This intaglio print represents a repeating concept of the relationship between the dead and living.
Leola Sanchez
Room
Intaglio print: Hardground
This is intaglio print that uses hardground for the main lines. My concept mainly represents my time I was quarantined during my South Korea trip during last summer. I wanted to create a piece that was suffocating and overwhelming.
Murky Waters
Intaglio print: Aquatint and Hardground,
This print is a 5x5 piece that was for our class edition print exchange. The overall class theme was “love and magic”, so I decided to make a piece about a siren that eats sailors' hearts.
My Little Sunshine
Intaglio print: Aquatint and Hardground
For this print I took inspiration from going back home for the thanksgiving break. I wanted to achieve a melancholy moment that is also nostalgic. My little sunshine is also something that my mom would sing to me whenever I had trouble sleeping when I was a child.
Untitled
Intaglio print: Aquatint with litho crayon and hardground
This is my final piece that was printed on gray BFK paper. I used a lithographic crayon to create certain textures with the aquatint. This piece is a reflection on the stresses that I have had in these last two weeks.
Matthew Kim
GROCERY DREAMS
Hardground and Chine Colle
Origami House: Study
Hardground and aquatint
An unfolded Origami House, studying the textures and tones within a folded sheet of paper.
Origami Crane: Study
Hardground and aquatint, Japanese Kozo Paper Chine Colle, direct inking
Classroom Desk: 2nd Grade
Hardground and aquatint, chine colle
A reflection on when I started origami, looking back on my second grade desk as a young student.
Mel Blue
“Welcome Home”
Intaglio print on cream paper
Untitled
Intaglio Print on cream paper with chine collé
Untitled
Intaglio Print on Paper
Natalia Grey
“Untitled”
Intaglio Print
“Untitled”
Intaglio Print
“Untitled”
Intaglio Print
Nicholas Uglow
My art seeks to bridge the gap between light and the human experience. I want to illustrate the light in memories and moments where the light is unseen. I’ve noticed light is a focal point of impactful experiences I’ve lived. Light can be literal and pronounced, or visually completely absent, and I want to illustrate the light in moments and memories where it is unseen.
“Cat Love Wizard”
Intaglio print, hardground, aquatint
Love, magic and a cat, what's not to like?
“At the Crux of an Important Life Decision”
Intaglio print with a la poupee, hardground, aquatint, whiteground
This print was created out of an uncertainty with post-graduation life, amidst the complications of life and varied opportunities.
“When I Clap Just Like this, it Sounds Like Your Heartbeat”
Intaglio print with a la poupee, hardground
Connecting sound to unseen light, this print illustrates the light we don’t see in special moments.
“Pain, Memory, and Light”
Intaglio print with a la poupee, hardground, aquatint
Connecting pain to unseen light, this print illustrates the sensation of emanating pain through light.
Sophie Han
“Structure”
Intaglio Print; hardground
“Spaces”
Intaglio Print; hardground, aquatint
Untitled
Intaglio Print; hardground, aquatint
Intaglio Print; hardground, white ground, aquatint, à la poupée