showing 37 results matching medium:"Color intaglio"

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Two-color intaglio printed in heavenly blue and indigo. Hard-ground and spit-bite aquatint techniques were used to create the copper intaglio plate.

Copyright %C2%A9 Stuart Nielsen%2C published by Basic Content%2C Minneapolis

East, 2002

Stuart Nielsen; Printer: Highpoint Editions, Minneapolis; Publisher: Basic Content, Minneapolis

Not on View

%C2%A9 Philip J. von Raabe

Night, 1978

Philip J. von Raabe

Not on View

%C2%A9 Estate Anton Heyboer

The Rock, 1964

Anton Heyboer; Printer: Anton Heyboer

Not on View
two sheets attached together in vertical format; top sheet has rust, orange and yellow cloudy ground with twisting background shapes, linear grey coil and turquoise linear coil on top; bottom sheet has blue ground with fuzzy gold interior area; looping linear shapes in orange and pale yellow

%C2%A9 1997 Steven Sorman

In Step Out of Step II, 1997

Steven Sorman

Not on View
two sheets attached together in vertical format; top sheet has iridescent gold ground with purple at R and L edges, linear knot-like design in white and solid grey organic knot-like shape; bottom sheet has orange ground with linear white loops and cone-like "cages" and red linear coils

%C2%A9 1997 Steven Sorman

In Step Out of Step VI, 1997

Steven Sorman

Not on View
two sheets attached together in vertical format; top sheet has lightly spotted white ground with two spiral-like shapes; bottom sheet has iridescent red ground with white coiling shape and two purple loops

%C2%A9 1997 Steven Sorman

In Step Out of Step I, 1997

Steven Sorman

Not on View
two sheets attached together in vertical format; top sheet has orange and tan ground with purple linear swirls and white linear geometric and organic design; bottom sheet has purple and lavender ground with pink and red cage-like linear designs and solid pink openwork flame-like form

%C2%A9 1997 Steven Sorman

In Step Out of Step IX, 1997

Steven Sorman

Not on View
Four-color intaglio printed in process yellow, red, blue, and black inks. Hard-ground and spit-bite aquatint techniques were used to create the copper intaglio plate. After drying and flattening, the intaglio inks were screenprinted over with a very transparent satin golden yellow.

Copyright %C2%A9 Stuart Nielsen%2C published by Basic Content%2C Minneapolis

South, 2002

Stuart Nielsen; Printer: Highpoint Editions, Minneapolis; Publisher: Basic Content, Minneapolis

Not on View

%C2%A9 Estate Adja Yunkers

Immobile Sun XXI-B, 1982

Adja Yunkers

Not on View
two sheets attached together in vertical format; top sheet has iridescent purple-brown ground with looping shapes and two grey solid coils; bottom sheet has red and blue ground with organic linear shapes in orange and red

%C2%A9 1997 Steven Sorman

In Step Out of Step V, 1997

Steven Sorman

Not on View
two sheets attached together in vertical format; top sheet has green and orange ground with blue, orange and yellow looping shapes in linear format and two grey organic solid shapes; bottom sheet had mottled purple ground with linear looped coils in white and cone-shaped purple linear cage-like design

%C2%A9 1997 Steven Sorman

In Step Out of Step IV, 1997

Steven Sorman

Not on View
two sheets attached together in vertical format; top sheet has swirled ground in orange, yellow and blue with solid grey organic shape; bottom sheet has purple and gold ground with linear organic design in white

%C2%A9 1997 Steven Sorman

In Step Out of Step VIII, 1997

Steven Sorman

Not on View
two sheets attached together in vertical format; top sheet has red ground with gold fingerprints and gold flame-like shapes; bottom sheet has turquoise and black ground with black and white linear coil designs and three solid iridescent bronze curls

%C2%A9 1997 Steven Sorman

In Step Out of Step VII, 1997

Steven Sorman

Not on View
two sheets attached together in vertical format; top sheet has lightly spotted rust on white ground with linear organic shapes in rust; bottom sheet has swirled brick red, bright red, olive and tan ground with purple-grey linear loops (light) and thicker grey and white coils of various sizes

%C2%A9 1997 Steven Sorman

In Step Out of Step III, 1997

Steven Sorman

Not on View
golden tan background, rusty red center circle; background has an image of fabric with an inner square set at an angle

%C2%A9 Estate Adja Yunkers

A Moment into Eternity II, 1982

Adja Yunkers; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis

Not on View
gray paper; abstract image with irregular, fuzzy-edged black form at right; crackle textures along top and left edges and half of bottom edge, in black, blue and dark red; two larger shapes in crackle pattern at left

%C2%A9 Fred Hagstrom

Hover I, 2007

Fred Hagstrom; Publisher: Form and Content Gallery, Minneapolis

Not on View
Cloth-covered boards with intaglio print adhered to front board; codex binding; 15 pp.

%C2%A9 Fred Hagstrom %2F Greg Hewett %2F Strong Silent Type Press%2C publisher

Echo, 2007

Fred Hagstrom; Author: Greg Hewett , American, born 1958; Publisher: Strong Silent Type Press, St. Paul, Minnesota

Not on View
three images on one sheet, with seams, forming continuous scene; head of a man with thinning hair right of center on central image with a flat landscape behind him with grasses; low horizon line, cream-colored sky; dark orange band with grey and black text and organic elements beneath each image; cream-colored frame

Copyright %C2%A9 2015 Leonardo Lasansky

Fragments of The Sublime, 2015

Leonardo Lasansky

Not on View
A suite of eight prints from nine laser-engraved Plexiglas plates in the shape of a flying bird, five bird heads, a woman's legs, an ape, and an abstract shape in red, blue, and black inks. The plates were printed in four fixed overlapping arrangements designed by the artist by chance. Seen as a group, these arrangements suggest the nine shapes being tossed to the side, bottom, or top edges of the picture frame. Four panels of the eight were printed in these arrangements with the plates inked and wiped intaglio style only. The other four were printed in these arrangements after adding a relief roll of ink in addition to the inked and wiped lines. The intaglio printed lines stand visibly on the relief printed flats.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Skeleton Images – Azar Compositions #4, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of eight prints from nine laser-engraved Plexiglas plates in the shape of a flying bird, five bird heads, a woman's legs, an ape, and an abstract shape in red, blue, and black inks. The plates were printed in four fixed overlapping arrangements designed by the artist by chance. Seen as a group, these arrangements suggest the nine shapes being tossed to the side, bottom, or top edges of the picture frame. Four panels of the eight were printed in these arrangements with the plates inked and wiped intaglio style only. The other four were printed in these arrangements after adding a relief roll of ink in addition to the inked and wiped lines. The intaglio printed lines stand visibly on the relief printed flats.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Skeleton Images – Azar Compositions #3, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of eight prints from nine laser-engraved Plexiglas plates in the shape of a flying bird, five bird heads, a woman's legs, an ape, and an abstract shape in red, blue, and black inks. The plates were printed in four fixed overlapping arrangements designed by the artist by chance. Seen as a group, these arrangements suggest the nine shapes being tossed to the side, bottom, or top edges of the picture frame. Four panels of the eight were printed in these arrangements with the plates inked and wiped intaglio style only. The other four were printed in these arrangements after adding a relief roll of ink in addition to the inked and wiped lines. The intaglio printed lines stand visibly on the relief printed flats.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Skeleton Images – Azar Compositions #1, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of eight prints from nine laser-engraved Plexiglas plates in the shape of a flying bird, five bird heads, a woman's legs, an ape, and an abstract shape in red, blue, and black inks. The plates were printed in four fixed overlapping arrangements designed by the artist by chance. Seen as a group, these arrangements suggest the nine shapes being tossed to the side, bottom, or top edges of the picture frame. Four panels of the eight were printed in these arrangements with the plates inked and wiped intaglio style only. The other four were printed in these arrangements after adding a relief roll of ink in addition to the inked and wiped lines. The intaglio printed lines stand visibly on the relief printed flats.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Skeleton Images – Azar Compositions #8, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of eight prints from nine laser-engraved Plexiglas plates in the shape of a flying bird, five bird heads, a woman's legs, an ape, and an abstract shape in red, blue, and black inks. The plates were printed in four fixed overlapping arrangements designed by the artist by chance. Seen as a group, these arrangements suggest the nine shapes being tossed to the side, bottom, or top edges of the picture frame. Four panels of the eight were printed in these arrangements with the plates inked and wiped intaglio style only. The other four were printed in these arrangements after adding a relief roll of ink in addition to the inked and wiped lines. The intaglio printed lines stand visibly on the relief printed flats.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Skeleton Images – Azar Compositions #6, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of eight prints from nine laser-engraved Plexiglas plates in the shape of a flying bird, five bird heads, a woman's legs, an ape, and an abstract shape in red, blue, and black inks. The plates were printed in four fixed overlapping arrangements designed by the artist by chance. Seen as a group, these arrangements suggest the nine shapes being tossed to the side, bottom, or top edges of the picture frame. Four panels of the eight were printed in these arrangements with the plates inked and wiped intaglio style only. The other four were printed in these arrangements after adding a relief roll of ink in addition to the inked and wiped lines. The intaglio printed lines stand visibly on the relief printed flats.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Skeleton Images – Azar Compositions #7, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of eight prints from nine laser-engraved Plexiglas plates in the shape of a flying bird, five bird heads, a woman's legs, an ape, and an abstract shape in red, blue, and black inks. The plates were printed in four fixed overlapping arrangements designed by the artist by chance. Seen as a group, these arrangements suggest the nine shapes being tossed to the side, bottom, or top edges of the picture frame. Four panels of the eight were printed in these arrangements with the plates inked and wiped intaglio style only. The other four were printed in these arrangements after adding a relief roll of ink in addition to the inked and wiped lines. The intaglio printed lines stand visibly on the relief printed flats.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Skeleton Images – Azar Compositions #2, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of eight prints from nine laser-engraved Plexiglas plates in the shape of a flying bird, five bird heads, a woman's legs, an ape, and an abstract shape in red, blue, and black inks. The plates were printed in four fixed overlapping arrangements designed by the artist by chance. Seen as a group, these arrangements suggest the nine shapes being tossed to the side, bottom, or top edges of the picture frame. Four panels of the eight were printed in these arrangements with the plates inked and wiped intaglio style only. The other four were printed in these arrangements after adding a relief roll of ink in addition to the inked and wiped lines. The intaglio printed lines stand visibly on the relief printed flats.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Skeleton Images – Azar Compositions #5, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A diptych printed from six laser-engraved Plexiglas plates in the shape of four bird heads, a woman's legs, and an ape in red and blue inks. The plates were printed in an overlapping arrangement designed by the artist. One panel of the diptych was printed with the plates inked and wiped intaglio style. The second panel was printed after adding a relief roll of ink in addition to the inked and wiped lines. The intaglio printed lines stand visibly on the relief printed flat.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Skeleton Images – Azar Compositions Duo, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Composition: bleue, ocre, et rouge, 1963

Johnny Friedlander

Not on View

Frolicking Friends, 1975

Chris Kakas

Not on View

Magician, 1975

Richard Black

Not on View

Evenfall, 1982

Leonardo Lasansky

Not on View

Grand Canyon Suite I, 1979

Hedi Mueller Bak

Not on View

Archetectural Mimicry, 1976

Hedi Mueller Bak

Not on View

Limits of Consciousness, 1962

Anton Heyboer; Printer: Anton Heyboer

Not on View
One-color intaglio printed in black ink with gampi chine collé (colored with blue, green, yellow, turquoise, orange, and the artist's blood) plus iron and saffron transfer during printing. Hard-ground and lift-ground techniques were used to create the copper intaglio plate. After drying and flattening, the artist applied copper, silver, and pale gold foil and applied pale green watercolor.

Copyright %C2%A9 Stuart Nielsen%2C published by Basic Content%2C Minneapolis

North, 2002

Stuart Nielsen; Printer: Highpoint Editions, Minneapolis; Publisher: Basic Content, Minneapolis

Not on View

Christoforo Colombo, 1984

Leonardo Lasansky

Not on View

Andrea's Fault, 1976

William Weege

Not on View

showing 37 results matching medium:"Color intaglio"

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