Héliogravure XI – Ink and Paper

In the last post Heliogravure X - Black...?, what black?, there was discussed how the ink employed affects the black density and also how it could compromise the tonal range, among other factors. Here, we will try to look at how the same ink influences the picture over different papers. The plate chosen for this …

Héliogravure X – Black…?, what black?

Deep, dense, rich, velvet and other adjectives are often used to describe the black richness in héliogravure (photogravure on copperplate). The choice of the ink and the way this ink is laid onto the paper surface, lends to the photogravure print a uniqueness not so easy to explain beyond the direct visual experience. But this …

Heliogravure IX – An Updated Summary

As time goes by and practice evolves, a sight to back shows a lot of changes from last post of mine on this technique in 2017. Here is a succinct list of my current method for heliogravure or photogravure on copperplate. Readers of former posts will find minute changes in several phases side by side …

“From mind to hands” at the 11e Biennale Internationale d’Estampe Contemporaine de Trois-Rivières, Québec, Canada

Seven heliogravures from the "From mind to hands" series have been selected to participate in the 11e Biennale Internationale d'Estampe Contemporaine de Trois-Rivières, Quebec, Canada. The venue will be on 16 June 2019. Many thanks to the Jury and congratulations to all selected artists. (Click on the thumbnails to access enlarged slideshow)

Heliogravure VII – Observing the Lateral Etching

Single or binocular loupes are often used to observe the effects of the etching on the surface of the copperplate. Depending on the kind of resin or screen used, it is sometimes difficult to view in detail what happens at this level. In some cases would be very useful to take a picture in order …