Zinc intaglio plate during the inking process. In the intaglio printing process the artist creates the image on a plate, in this case, a zinc metal plate. Various methods are used to produce shallow relief markings in which the darks are grooves or pits in the metal. Ink is wiped into those grooves or pits and the plate is run through a printing press and the image is transferred onto high-quality acid-free, linen-based paper. Traditionally, intaglio work is done on copper or zinc plates. At balletart.com we produce some very limited editions on softer plexiglass plates as well. |
Zinc plate proof on the press, late November, 2001. At this point the artist is checking to see how the image looks. Because the work is done by drawing directly on the metal plate, it is printed periodically to see if the line quality and image are as anticipated. Also, because the plate is a mirror image of the final paper print, it is important to see it on paper to understand and resolve compositional issues. |
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Here, artist B. H. Giza is proofing (test-printing) an image from a plexiglass plate. |
A second plexiglass plate portrait being proofed at San Antonio's StoneMetal Press. |
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Drawings
Many of the prints begin as drawings. These may be done on paper and either transferred to a metal plate through the photograveure process, or simply used as preliminary sketches for freehand re-creation of the image on the metal. In either case, balletart.com's artist (B. H.Giza) usually continues to work on the metal plate with the drypoint method, scratching directly into the plate with an engraving tool. Try this link to see the artist at work, drawing straight into the copper with an engraving tool.
Want to see more examples of the artwork in production? Try this link or this link
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Melissa. June 14, 2001 version (20 Kilobytes). Ballpoint pen on white paper. This image of a work-in-progress is a gray-scale image, but the drawing is in color. This represents one day's work so far. |
Melissa. June 15, 2001 version (20 Kilobytes). Ballpoint pen on white paper. The drawing is finished, but unsigned. This image of the drawing shows the colors used. This represents two day's work. |
Eileen (June 2001). Pen and ink on paper. | 
Eileen - a closeup that emphasizes technique (but sacrifices true color to generate a sharper image). |
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Tory (July 2001). Pen and ink on paper. Undercolors (browns and blacks). Drawing finished, but unsigned. (It was signed upon transfer to the model) | |
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Jenny (July 2001). Excerpt of an etching proof on Arches paper. | 
Jenny (July 2001). Close-up of the copper plate, in-progress. This etching (16 by 20 inches in paper size) was printed as a limited edition in late August, 2001. |
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A copper plate that is partially completed, Nov. 2001. | 
Dancer-model in costume. Dec. 2001 |
