We engrave mainly on polished copper plates, using direct engraving techniques (dry point, burin, mezzotint or indirect engraving (etching, line engraving or aquatint). Printing is done by hand, resulting in a finish that is both precise and vibrant, that works well with all types of drawing. tching is a complex and time-consuming process, hence a technique best suited to print runs of 10 to 50 copies, mostly monochrome, the realms of colour etching still a far beyond charted territory.

The choice of quality papers enhances the images produced: cotton, Japanese or Korean papers lending their own character to each print.

While line drawing is the cornerstone of printmaking, it is also possible to reproduce photos. Here, the image is starkly altered ; it’s a practice o be experienced in order to catch a glimpse of all its possibilities, and its limits.

TYPOGRAPHY AND
RELIEF PRINTING

Relief printing works on the principle of pad printing: the recesses are left empty and the surface of the matrix is printed. Letterpress, woodcut and linoleum printing all make good use of negative space creating the image by carving into the material or arranging it on the press. Movable type printing – lead or wood – is a fairly restrictive way of designing texts and layouts. This process is a catalyst for the emergence of graphic solutions, and the discovery of an unexpected scenery at the bend of a hand-crafted path Our semi-automatic press makes it possible to print runs of up to several hundred copies.

e work in spot colours using fatty inks that offer great dispersion stability and a varied range of colour palettes. ure colours or blends, fluos and metallic inks can be combined to experiment with all types of paper, explore the world of relief or depth of hues through the play of transparency and superimposition. Several colours imply repeating the process, and hence different printing matrix design.