Nancy Previs has for many years been observing and interpreting nature’s form, textures and tones. She is fascinated by subtleties in light and colour and draws her inspiration from nature’s ability to generate beauty from what seem spontaneous and random processes.
Connecting with these processes – the life force of the landscape around us – and striving to reflect nature’s quiet yet startling beauty, she creates mixed media works on paper and on canvas.
She is a member of Graphic Studio Dublin and the Society of American Graphic Artists (SAGA).
She has had solo shows in Dublin, Washington DC and New York and she has been invited to participate in group shows in Ireland, the UK and the USA.
Her work is held in public and private collections in Ireland, the UK, the USA and Canada.
Process and Techniques
To make a hand-pulled original print the artist must first create a number of plates. Once these are checked (by printing each plate separately) and the artist proof has been printed, the limited edition of hand pulled etchings are made.. Each plate requires hand inking and wiping before being run through the press, multiplate etchings requiring plate registration.
Below are several techniques used to create plates.
The plate is made by etching into the surface with a sharp tool. With this technique a burr is raised as the sharp tool is scratched across the plate. Ink is held in the incised line and is also trapped in the burr, resulting in a soft quality printed line.
Carborundum (or silicon carbide) grit is a hard, sand-like abrasive that comes in a range of grades from very coarse to fine. It is commonly mixed with a strong glue and painted onto a metal or perspex support. The mixture, grade and application technique will determine how much ink will be held in areas and thus the intensity of color. Prints using carborundum tend to be more painterly in style.
Solar plate etching
Each steel plate has a UV sensitive polymer bonded to the surface. (This type of plate has been commonly used to print commercial packaging.) To etch, an image on a transparency is positioned firmly against the plate before the plate is exposed to UV light. Because the plate is developed and washed out in water, this technique is considered to be a greener plate making alternative.
A plate-making technique where a resist (hard or soft ground) is applied to areas of a de-greased sheet of aluminum before the metal is submerged in a tray of copper sulfate. Areas where resist has not been applied will be etched by the acid. Plate development may require multiple etchings using stop-out to prevent further etching in areas. to create tonal variation and depth of line.