Printing Splendor, a complete edition, years after this drypoint and mezzotint print had been finished with a single proof.
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Some steps in the production of a print that precedes the moment of actually working on the image (such as preparing the plate), and others that follow it (such as cleaning the inked matrix before printing) directly influences the result, according to the manner in which that are carried out.
2015-2020 | Alto da Lapa - São Paulo
Engraving by direct observation of carrion larvae and a calf skull was part of the drypoint and mezzotint creation process of "Razão de Sambar".
2019 | Alto da Lapa - São Paulo
Genesis came from the matrix of Void, reworked. Both are mezzotints, but "Void" was built solely creating the black areas with the rocker, being the white of the print where, in the matrix, the metal was untouched by the tool. After printing a full edition of "Void", the print "Genesis" was made using scrapers and burnishers over the black areas, opening up the grays and whites (most usual procedure in mezzotint).
2019 | Alto da Lapa - São Paulo
It happens that a print is abandoned or totally modified, even if it is still in the beginning of the work. A momentary obsession with collecting dead insects to engrave, despite the various images initiated, only rendered the mezzotint "Nocturne" properly finished.
2017-2018 | Alto da Lapa - São Paulo
Trichromy, a printing process of combining the primary colors using three matrices, was done with a simple registration in "L" for the mezzotint "Ruin".