With the foundation of the print begun I can now start to add the primary imagery.
The photo of my model Kalae is made into a positive
transparency that is then exposed on to a Printight
photo etching plate. Once developed the new plate
can be cured in the hot Hawaiian sun, here on the
steps of the Honolulu Academy of Arts Linekona
Art Center.
After inking the new plate with black ink the
image is printed or “proofed” on to a damp
sheet of paper, run through the press under
pressure and an impression is pulled.
Once the first proof is pulled it can
be examined and measured against
one’s expectations. Plans for
adjustments, color impressions and
registration can be worked out so that
this new element can be added to the
print in process.
My model Kalae’s
stretched portrait gives an
unusual perspective or optical
illusion. To the left is the
Printight photo etching plate,
trimmed to an oval to match the
image. The plate is then inked and
wiped for the printing of the edition.
Images which I felt symbolically support the theme of the print were added next. The first of these was a nautilus shell
which not only represents natural beauty and balance but also because it’s shape and position, introduces another
feminizing form. The nautilus is printed from six lithographic stone drawings printed one color separation at a time. The
color proofs can be seen in succession below.
Black paper was used for proofing the white
impression to illustrate the drawing on this
stone (white ink on white paper is nearly
impossible to see!) This drawing adds highlights to the shell’s surface
and softens or tones-down the mottled
drawing in the grey plate intended
to reflect the mother-of-pearl on the inside of
the shell.
