In a year-long process, artist Josephine Halvorson explored the intricate multistep process of creating a sophisticated colour print with Wingate Studio and master printer James Pettengill in New Hampshire. The relationship between the artist and master printer has a rich history, critical to the foundations of printmaking itself. The master printer’s expertise and technical knowledge of certain processes are critical to guiding the actualisation of an artist’s work, both physically and aesthetically. “Fire” is Halvorson’s first etching and her painterly background, affinity for everyday objects, and close in-person observation is evident in each step of the process. The wood-burning stove is located in the printmaking workshop and is a Jotl, a brand that Halvorson’s parents sold during her childhood. She experimented with a variety of techniques including: drypoint, soft ground etching, aquatint, spit bite, sugar lift, modifying the copper plates repeatedly. After each modification, an image, or proof was printed, its visual effects analysed, and subsequently revised. She created this drawing on white tracing paper after working off a series of photographs (see works 81.1.2021-81.6.2021).
A critical step in the printmaking process is the transfer of the drawing to the matrix, or the surface that holds the ink for printing. After rendering the drawing, it was then traced onto the soft ground copper plate. The proofs, 43 in total, will serve as a valuable teaching tool at the MFA as they demonstrate the varied and nuanced effects of each technique, while annotations reveal how essential dialogue between artist and the studio as they work toward the life-size final proof before the edition. Colour aquatint, a specialty of Wingate Studios, is especially well-suited to exploring a range of tones and painterly effects in vivid juxtaposition.

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