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DID YOU KNOW? An "original print" is the image on paper or similar material made by one or more of the processes described here. Each medium has a special, identifiable quality because more than one impression of each image is possible. The artist's intention to create an original print is the key to the "originality" of the finished work. For example if she first conceives of a watercolor, then has the result copied by woodcut, the result is not "original" but a reproduction. The total number of prints made of one image is an "edition." The number may appear on the print with the individual print number as a fraction, such as 5/25, meaning "edition" was 25 examples with this example numbered 5.

Collograph: Printing surface is built up on the plate or block by applying various materials which may also be incised. Materials can be cut-out shapes from heavy paper, coffee grounds, masking tape, leaves, sands, etc. Surface is often mat board. Finished "stencil" is called the "plate." The plate is then inked, put in contact with damp paper and passed through a roller press. Carranza often creates "mixed media collographs" (see "FINAL EMBRACE,") which are images that have been enhanced after passing through the press with additional media such as pastel or paints.

Etching: A metal plate is coated by a material which resists acid, called the ground. The artist then draws her design on the ground with a sharp needle where it touches it, and when the plate is put in an acid bath, these exposed parts will be etched (or eaten away). This produces the sunken line which will receive the ink. In printing, the ink settles in the sunken areas and the plate is wiped clean. The plate in contact with damp paper is passed through a roller press and the paper is forced into the sunken area to receive the ink. The artist etches on the plate those parts which will appear in the finished print as black or colored areas. White areas are left untouched. Depth of tone is controlled by depth of etch.

Dry Point: The sunken lines are produced directly by diamond- hard tools pulled across the plate. The depth of line is controlled by the artist's muscle and experience. The method of cutting produces a ridge along the incisions, called burr. This gives the dry-point line the characteristically soft, velvety appearance absent in the clean- edged lines of an engraving or etching. (See Untitled Nude).

Aquatint: A Copper plate is protected by a porous ground which is semi-acid resistant. The white (non-printing) areas, however are painted with a wholly acid- resistant varnish. The plate is then repeatedly put in acid baths where it is etched to differing depths. The final effect is an image on a fine pebbled background (imparted by the porous ground). Aquatint is usually employed in combination with line etching.

Note from Irene: "This process is extremely labor-intensive. I started working on the Mermaid Aquatint in August of 2007, and expect to complete it by end of November. This technique requires much patience and diligence."

NEW! Limited Edition Prints of:

These prints are sometimes referred to as "giclées," high quality reproductions of the original works matching the color and texture with vivid accuracy. All prints are signed and numbered by Carranza. These 2 are available on Somerset archival paper, approximately 28" x 37". We are very pleased with them and believe you will be, too.

Please refer to our GUARANTEES.

To order, send us an email or call 213.308.6767.

Pay by PayPal, or call us directly to process your order. ALL MAJOR CREDIT CARDS ACCEPTED.

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