Tony Wynne Prints
Boundary Track (Messent Conservation Park, SE)
A computer image was created partly from a pencil drawing from the subject and partly from a photograph, with further drawing into the image using Adobe Photoshop. The image was ‘granulated’ by bit-mapping and then printed as an inkjet positive transparency. This was used to create a photopolymer plate using Imagon film attached to a steel plate, with a single exposure to the sun. (Refer to the separate note on the photopolymer process.) This was then inked and printed on an etching press in the normal way.
This work was inspired by an aerial view of the River Murray while flying home after a holiday in Sydney. I used Google Maps to follow the Murray and Murrumbidgie Rivers and to find the place that I had seen. This provided the basis for a sumi ink drawing on a smooth ceramic plate. Sumi ink is the traditional Chinese semi-water-soluble ink made using an ink stick. The image was handprinted onto damp rice paper using a roller, and watercolour was added after printing.
While I prefer to draw direct from the subject and not to use photographs, a photograph was used for this work. The drawing was done using a tablet and computer with Corel Painter software, and Painter’s ‘real pencil’ tool. The print on this exhibition is an inkjet print on transparent resin coated film – the first stage of the photopolymer process. Trial photopolymer prints did not reproduce the required delicacy of line so I stayed with inkjet. Hot pressed watercolour paper was used for the other prints in this edition.
Ilka Creek (Flinders Ranges West)
This drypoint was scratched into an aluminium plate direct from the subject using tungsten and diamond points and also a battery powered ‘Dremel’ high speed rotary tool. When fitted with a simple sharpened point, in place of an engraving burr, this enables a stronger and more fluent drypoint line than an ordinary scratching tool. Being a softer metal, aluminium will give fewer good prints than copper (only 5-6 if one prints carefully), but it holds and prints a drypoint line well
Another print from this edition was a finalist in the 2012 Heysen Prize for interpretation of place.
Near the Coast
The copper plate was needled direct from the subject at West Beach, Adelaide. It was drawn without reversal and the printed image is consequently in mirror image to the original scene. The rosin aquatint was applied after making a trial print. The plate was etched in a mixture of ferric chloride and citric acid.
This print is based on a pencil drawing from the subject. The image was ‘flipped’ horizonally and resized in the computer to fit the steel plate, which had been prepared with soft ground. In the ‘soft ground’ process, hard ground (a mixture of beeswax, bitumen and rosin) is mixed with Vaseline or grease so that it remains reasonably soft. A sheet of textured paper, which may already contain an image to be traced, is placed on the plate (very lightly) and drawn on so as to ‘lift’ the ground by transferring it from the plate to the back of the paper. When the plate is etched and printed this gives a grainy line similar to pencil or, if printed more heavily, more like a lithograph.
Steel is a good metal for soft ground because it etches to a natural grainy texture that prints black. So less care needs to be taken to avoid lines being too close together, when they might coalesce and print as a dull grey. eg. if copper or zinc were used. The plate was etched in nitric acid.
River Stour, Flatford
This work originates from a digital photograph taken on a visit to Flatford UK (Constable country). The image was cropped, converted to black and white and ‘photoshopped’ to remove unwanted background trees. It was then slightly modified by drawing into with a pen and tablet. But it remains essentially a photograph, which is why it is described as ‘photopolymer gravure’. The image was granulated by converting to bit-map and then printed on transparent film for the photopolymer process. The plate, again Imagon film on a steel plate, had a single exposure to the sun.
Native Pines, Warraweena
This was done at home after returning from a walking holiday at Warraweena in the northern Flinders Ranges. It is loosely based on drawings and a photograph of a hillside on the Warraweena property. The hard ground etching and aquatint (rosin method) was done on a steel plate which was etched in nitric acid.
Native Pines, Moralana
The small copper plate was needled direct from the subject (a landscape along the Moralana scenic drive in the Flinders Ranges). A rosin aquatint was applied after making a trial print of the line drawing. The plate was etched in a mixture of ferric chloride and citric acid.
This small print is based on a pencil drawing done from the subject. It was re-drawn using a tablet and computer, deliberately without line and with only a limited number of granulated tones. This was done by cloning from a separate black granular image file, using different ‘opacity’ settings for the different tones. It is equivalent to a pure aquatint print. In this instance a Torelief photopolymer plate was used, and exposed in a homemade UV fluorescent tube unit.