Mainly i work black and white to get a concentrated composition (for further techniques as a scetch, also).

At the Academy of Fine Arts, Dresden, my inkful experiments for transforming the embossing of the linocut  onto the paper got no sympathy neither at the staff nor my professors.

In 1994/95 i got a sholarship from the german academic exchange service for the Royal College of Art, London and found myself at the printmaking department of prof. Tim Mara.

He recommended the technician A. Bird to help solve the technical problems. One year i made experiments with papers, inks and machines, tried different ways of printing.

So I came to an embossing printing with visible relief made with a special way of whiping the ink onto the lino

sometimes combined with classical linoprinting and etching kind of printing within one printing process (the lino may be devided).

It is printed on a etching press (metal wheels) onto a very heavy cottonpaper.

Finally i called the technique anvil printing.

Later i even devided the anvilprints and treated the pieces with different patina (silver, black) for getting a greater volume of  depth.

This element still uses the old Contao 2 SRC format. Did you upgrade the database?

anvil prints