Contemporary, Digital Printmaking, Engraving, Landscapes, Lithograph, Photogravure, Photolithograph, Prints

Sylvie Covey’s Printmaking Process

Lake George II. By Sylvie Covey. Photolithograph, 2010. Edition of 4. LINK.

Lake George II. By Sylvie Covey. Photolithograph, 2010. Edition of 4. LINK.

Last week, we talked with the fantastic contemporary artist Sylvie Covey  (She is one of the OPG artists we will be bringing to this week’s Capital Art Fair). Sylvie  Covey is a favorite here at the Old Print Gallery- we featured her stunning Lake George II in our 2012 Winter Contemporary Show, and gallery visitors and collectors are always moved by her impressive, expansive black and white Wyoming landscapes.

Sylvie was gracious enough to share some words on her technique and creative process used in her print series Wyoming (2011) and Lake George (2010), both available in our Georgetown gallery.  We hope you enjoy this inside look into her unique approach to the world of digital printmaking. Thanks again for sharing Sylvie!

 The process of making art is a continuous learning experience. As a multi media artist I attempt to celebrate, transcend or reverse the conventions of visual languages.

In today’s world we artists want to embrace new technologies while also holding on and comparing them with more traditional methods of making art.

Wyoming VII. By Sylvie Covey.  Photogravure, 2011. Edition of 6. LINK

Wyoming VII. By Sylvie Covey. Photogravure, 2011. Edition of 6. LINK

I take photographs of  fabulous landscapes, and dramatize the images digitally, sometimes in black and white, sometimes in split-toning, sometimes making color separations in CYMK. [Cyan, magenta, yellow and black.] I then print the files on laser transparencies to obtain positive films, to the scale of the anticipated final work.

The transparencies must have a specific microscopic halftone to define the image, for photo-etching I use 85 dpi, for photolithography I can go up between 220 to 300 dpi.

Wyoming IX. By Sylvie Covey. Photogravure, 2011. LINK. Edition of 6.

Wyoming IX. By Sylvie Covey. Photogravure, 2011. Edition of 6. LINK. 

I expose these transparencies on light-sensitive plates: for photo etching I must first laminate a copper plate with a polymer UV sensitive film emulsion. For photo lithography I use pre-sensitized aluminum plates [Fuji plates]. Once the plates have been exposed with UV light to the positive transparencies, the plates are developed in their respective developer, washed, and processed for printing.

I hand print all my plates and make very small editions, usually less than 10, because I have so many images to work with.

I print both photo etchings and photolithographs on my Charles Brand etching press.

I am very much involved in the process of making art with newer technology. Currently I work with transfer methods, on a variety of supports.

— New York, 2014. Sylvie Covey.

Lake George I. By Sylvie Covey. Photolithograph, 2010. Edition of 4. LINK.

Lake George I. By Sylvie Covey. Photolithograph, 2010. Edition of 4. LINK.

19th Century Prints, Chromolithograph, Early 20th Century, Lithograph, New Additions, Photolithograph, Prints, Two-color Lithograph

New Additions: Antique Valentine’s Day Cards



NEW ADDITIONSWe just added a whole set of late-19th century and early-20th century Valentine’s Day cards. These elaborate and beautiful cards feature fold-outs, paper lace, and  very sweet messages of love and adoration.


To My Valentine. : In these blue forget-me-nots, : In these fragrant roses too, : Read the message fond and true : From my faithful heart to you. Die-cut color lithograph, Undated. c.1880.

While handmade Valentine’s Day cards were in existence long before, the first printed paper cards made in the United States appeared around 1840. We have many stand-up cards with a base and several three-dimensional fold-out layers, which were popular designs from about 1895 until 1915.  Cards featuring honeycomb paper puffs, which open to form bells, fans, balls, hearts and other shapes, were also popular. These intricate designs were practical to mail, and made strong visual statements when finally opened up by the recipients.

Have I not told my love to thee? A love that e'er will constant prove... Paper lace, c.1890.

Have I not told my love to thee? A love that e’er will constant prove… Paper lace, c.1890.

Loving Thoughts. Published by A-Meri-Card. Made in U.S.A. Die-cut color lithograph, Undated. c.1925. Both eyes and pointing hand can move.

Loving Thoughts.  Die-cut color lithograph, Undated. c.1925. 

In the the 1930’s cards with mechanical parts came into vogue. The recipient would be able to pull on a lever in the card, to make a heart move, an eye wink, or a message to pop out.

These cards will make great gifts for the fast-approaching Valentine’s Day or any upcoming special anniversaries. They are beautiful, unique, and continue a time-honored tradition of love.

To view more cards, visit our gallery or the Valentine’s Day Section of our website. Follow the link here to view some beautiful examples.

76359 76356 80596 80606 80597 75618 75472 75454 74761 74330

Aquatint, Contemporary, Etching, Gallery Opening Receptions, Gallery Openings, Linocut, Lithograph, Monoprint, Monotype, Photolithograph, Prints, Woodcut

2012 Winter Contemporary Show

The Old Print Gallery is pleased to present its 2012 Winter Contemporary Show, which will open this Friday, November 16, 2012. The show will be an assortment of works by both up-and-coming and established printmakers, in several mediums.  Highlights include a series of charged photolithographic landscapes by Sylvie Covey, beautifully involved linocut relief prints by Karima Muyaes and Tenjin Ikeda, and boldly hued prints by local artists Susan Goldman, Philip Bennet, and Joan Krash.

Bottles & Jars I by Peri Schwartz captures the crisp, luminous glow of the winter months and Neighbor & Orion II by Herbert Simon delivers a similarly poignant study of a hushed, nocturnal landscape, thanks to purposeful use of color. Local artists Jake Muirhead and Marti Patchell’s impressive draftsmanship result in intricate and delicate still lifes, elevating the familiar artichoke and cereus blossom in the process. Many of the artists in the 2012 Winter Contemporary Show are new to the Old Print Gallery, and offer a fresh approach to printmaking.

The exhibit opens with a nighttime reception at the Old Print Gallery on Friday, November 16, from 5-8pm. Many of the artists will be in attendance for the opening, to answer questions regarding their work and artistic process. The opening reception is free and open to all ages. The show will remain on view until February 9, 2013.

Selected Artists:  Philip Bennet, Sylvie Covey, Richard T. Davis, Deron Decesare, Yolanda Frederikse, Susan Goldman, Peter Gourfain, Tenjin Ikeda, Joan Krash, Richard Lubell, Paul Marcus, Ed McCluney, Judy Mensch, Jake Muirhead, Karima Muyaes, Marti Patchell, Matt Phillips, Susan Pyzow, Peri Schwartz, Herbert Simon, Ellen Nathan Singer, Hank Virgona, and Steven E. Walker.