According to Native American oral histories, the human figure may represent the Creator, while the animal figures may represent mountain lions who helped in the creation. The 'Blythe Intaglios' were created by scraping away the desert pavement.Īrchaeologists cannot be sure how old the geoglyphs are, since dating techniques have not been developed to date these types of features. Geoglyphs can be found in three forms: one is where designs or features are created by aligning stones together another method involves the scraping away of the desert pavement gravels exposing the ligher colored sands to create the designs or features and finally the designs or features are tamped into the desert pavement forming an indented image. Archaeologists call these kinds of earth figures ' geoglyphs' or ' intaglios' (in tar yoe). At the end of the edition, the artist will usually strike or destroy the plate or screen used to make the prints.In 1931, George Palmer, a local pilot, discovered these huge figures outstretched across the desert pavement on the terraces above the Colorado River near Blythe, California. The artist may also make a few artist's proofs _ marked A/P _ to insure that the run will look as intended. The number of the print has no effect on its quality the last is as good as the first. The right number of the fraction indicates the size of the edition _ 50 prints, in the case of Linda Molto's serigraphs.Įach of the prints is individually numbered. The artist pencils the title, a signature, and a fraction on the bottom. Unlike paintings, prints are usually produced in multiples. Others use new technology and materials for innovative effects. There are four basic categories of fine art prints: block prints, intaglio prints, silk screen prints and lithographs. Each work in the edition qualifies as an original because the work does not exist in any other medium. The quality is high the edition is limited. Upham also includes works by Woody Walters, who follows Ansel Adams' 'Zone System' of printmaking in photography.įine art prints, such as those on display at Upham Gallery, are painstakingly crafted and printed by the artist, working alone or with a master printmaker and a fine arts press. Other works, such as Machine Aesthetic, incorporate photographic or painted images. He carries early cubism a few steps further by pitting two-dimensional black and white line drawings against colorful drawings that have the suggestion of form, thus setting up his own brand of perspective.

John Costin of Tampa numbers his monotypes 1/1 because each is unique, done by a print method. In Judgment Day, she depicts nine religious figures. The print thus picks up the design of the substances when it is rolled through the press. His intaglio prints provide textural effects up close that dissolve into recognizable forms, in and out of focus, from a distance.īradenton artist Ann Stirm makes collagraphs in which she glues different substances _ lace, sand or string, for example _ to the 'plate,' which is actually matboard. Each color must be run through the press separately, and must line up perfectly or the result will be off-register.īradlee Shanks practices what he teaches at the University of South Florida in Tampa. Her print, If You Don't Think I'm Going, Count the Days I'm Gone, is typical of her incorporation of Florida in both her selection of images and color. Linda Molto of Cortez makes silk-screen prints, also called serigraphs.

Renc's works are big on borders, an essential part of his overall drama, even though he signs and numbers them on the inner 'frame.' The elegant calligraphy is by his wife, Linda. Fisherman's Map is a fanciful takeoff on Tampa Bay as an ancient cartographer might have rendered it. Bill Renc exhibits intaglio prints that he has hand-painted with watercolor.

The fisherman intaglio