About

Valeria Gasparrini ( Rome, 1964), was formed thanks to a rich contribution of artistic and literary experiences: classical studies, research in ceramics, painting, fresco, engraving, drawing from life; attended the three-year course of illustration at the IED, and was trained in the graphic engraved at the Stamperia del Tevere , in Rome. Today she works as an artist, as an advertising illustrator and freelance editorial, as a teacher of drawing, visual and illustration at Quasar Design University, the Academy of Fine Arts of L'Aquila ABAQ, the American University in Rome AUR. He draws live in theatrical performances, and realizes performances with stage machines of various nature that builds and animates on stage. As an artist he has participated in personal and collective exhibitions, and passionately dedicates himself to the creation of artist’s books, combining his remarkable illustrative nature with the infinite expressive possibilities of engraving techniques.

He has exhibited in Rome, Milan, Bologna, Faenza, Venice, Paris, Luxembourg, Rothemburg. Some of his works are part of permanent exhibitions, such as the ceramic work "Rain" at the International Museum of ceramics in Faenza, the artist book "How many irreplaceable lives", exhibited at the national library of Luxembourg, and its printed version exhibited at the Casa della Memoria in Rome.


They wrote about here

Daniele Scalise, Loris Schermi, Francesca Tuscano, Michèle Wallenborn, Devin Kovach, Sarah Linford, Gianluca Tedaldi. Valeria Bertesina.

For interested people,
I am writing to offer the highest recommendation for Valeria Gasparrini who has held two engraving workshops for the Rome Center of Architecture and Culture at Woodbury University which I direct. He guided the students' works, taking them from the initial drawings to the creation of the definitive prints and their possible display in an exhibition. I find her one of the most creatively contagious and inspiring people with whom I have had the opportunity to collaborate.
Let me take the liberty of offering a few details regarding his remarkable abilities. To begin with, she is a very competent artist in her field. She is also generous in sharing her experience and does so with great enthusiasm.
In the initial phase of the projects he offers numerous approaches, both experimental and conventional, with the aim of giving birth to works of art that can then be created on slabs.
In the workshops we used zinc and copper plates, and the results were surprising. It featured field sketching exercises, complex mapping projects, and digital plate file translations. It has provided Woodbury with some of the most powerful and transformative learning experiences students have had in Rome; also in relation to what they do at home. Our students love her and she has been there for them every step of the way, teaching them techniques to achieve their creative goals.
It is a magical moment when the students complete the drawings, prepare the plates, ink them working in their studio. And then they print them. This would not have been possible for us without Valeria's expertise.
Thank you for the opportunity to offer a great recommendation for Valeria and I would be happy to discuss her merits further should you wish to contact me at my email: paulette.singey@gmail.c
Best regards
Paulette Singley
Woodbury University professor,
Director of the Rome Center for Architecture and Culture

Using this type of technique, the color rendering is given by the juxtaposition of the signs of four different colors. The colors, worked with transparent ink, overlap, and overlap the marks. In some variations I also applied the collage technique.

"

The Wood

2021
4 zinc plates 22,8W x 12H. Printed with "print log". Variable paper size.
Autori:Autor:Valeria Gasparrini
Tecnica:Technique:Etching, more masters printed with "print log"
Scopri di più su questa tecnica Find out more about this technique
Opera in venditaArtwork for sale
Modalità di vendita
Sales method

Se volete acquistare un’opera potete scrivermi in privato; il prezzo è specificato nelle info per ogni singola immagine, insieme con le misure sia della stampa che della carta, ed è al netto delle spese di spedizione. Potete pagare tramite Paypal (in questo caso l’acquisto è coperto dalla garanzia Paypal) o bonifico; in entrambi i casi emetterò una ricevuta o una fattura. Le immagini sono accurate, e riflettono fedelmente l'originale, ma se l'opera che vi arriva dovesse discostarsi da quanto vi aspettavate potete restituirla, ed io vi restituirò l'importo; le spese di restituzione saranno a vostro carico, e l'imballo dovrà essere accurato come quello che avete ricevuto. Nella causale del pagamento va specificato il vostro nome, cognome ed il titolo dell’opera; I costi di spedizione sono a carico del compratore, quindi la modalità di spedizione (poste ordinarie, corriere…) è di vostra scelta; purché preveda la tracciabilità del pacco. L’opera verrà spedita arrotolata, per evitare ammaccature; l’imballaggio sarà accurato. Ogni opera sarà accompagnata da una scheda tecnica firmata dall'artista dove sarà specificata la tecnica e la tiratura; sarà inoltre contrassegnata da un timbro a secco dell'autrice.

If you want to buy a work you can write to me in private; the price is specified in the info for every single image, along with the measures of both the print and the paper, and is to the net of the shipping costs. You can pay by Paypal (in this case the purchase is covered by the Paypal guarantee) or bank transfer; in both cases I will issue a receipt or an invoice. The images are accurate, and faithfully reflect the original, but if the work that comes to you deviates from what you expected you can return it, and I will return the amount; the return costs will be at your expense, and the packaging should be as accurate as the one you received. In the reason of payment must be specified your name, surname and the title of the work; The shipping costs are borne by the buyer, then the shipping method (ordinary post, courier...) is of your choice; provided it provides for the traceability of the package. The work will be shipped rolled, to avoid dents; the packaging will be accurate. Each work will be accompanied by a technical sheet signed by the artist where the technique and the print run will be specified; it will also be marked by a dry stamp of the author

Particolari del progettoProject details

“Il Bosco” is basically a chromatic research.
The result is the superimposition of four prints, four masters printed in log one above the other. Each plate is inked with one or more different colors, and the sequential overlapping of the plates (and therefore of the inks) has created modulations and shades difficult to obtain with the techniques of chalcographic printing (Here you can see the details of the multiple masters printing technique)
It took a long preparatory work: the original color sketch was divided into its fundamental colors, giving rise to four monochromatic declinations ( yellow, magenta, cyan, black) that overlapped returned the rich coloring of the original design.
Each of these four declinations was transferred to the plate, and each plate was then printed overlapping with the others.
Once I obtained the plates I was able to begin my personal experimentation with colors and sequences… infinite variables.

Varianti dell'opera
Variants of the work
Fasi di lavorazione
Processing steps
The Wood, the processing process
Slab processing: “The wood” cutting and shaping of the slabs; the four slabs have the same shape and size, to be superimposed during the printing phase.
Polishing of slabs: “The wood”, the zinc plates are polished for proper inking and cleaning.
Waxing of slabs: The zinc plates are covered with a layer of wax. This will protect them during the acidification process.
Smoking of plates 1: The waxed plate is smoked with carbon black. This is to make the surface more compact and dark, so as to make the scratches (marks) that we will do later stand out better.
Smoking plates 2: The surface we get after the smoking process is smooth and dark.
Return the drawing to the plate: On the plate we report the drawing we want to engrave. We dust the back of the sheet with the drawing to be reported with white powder (white of spain), and then we will trace it. The sign will be transposed like a carbon paper. We will take care to reflect the design we want to obtain.
Draw the drawing on the plate: Following the guide of the drawing on the plate, we can now with a tip scratch the wax, thus discovering the metal surface below. We don’t have to scratch the slab, just the wax that covers it.
After biting into acid: The plate is then put into acid; in this case copper sulfate. The acid will not act on the parts protected by the wax, but only where it will find the way, then on the marks that we made on the waxed surface of the slab. Once removed from the acid, the protective wax is removed and the engraved plate appears.
Inked plate: This plate has been inked with blue ink. The surface was thoroughly cleaned and the ink remained only in the grooves.
The four inked plates: These are the four inked plates, ready to be printed in sequence; light yellow, light orange, red, blue.
Black and White Proofs: To evaluate every single plate before I printed them all in black and white.
Color tests and notes: In order to reconstruct the colors I used and their sequence, I wrote notes and prepared color samples for each print run I did.
Detail of a plate: Detail of a plate inked with pale orange. The printing of the last plate: Last step of printing: plate inked with blue.

 

Video

The Wood: printing process

Printing process of the work “The Wood”. The final print is the result of the superimposition of four plates engraved with etching and printed in “print log” (that is, one above the other).

Etching “The Wood”: backstage

Master preparation, color study, printing steps.

Opere simili
Similar works

Welcome, this is my site. I only use it to show my work, without advertising. I have no intention of communicating the data to third parties for advertising purposes; the cookies that I ask you to accept are only for you to enjoy good navigation and for me to understand how to improve it. More info

This site uses only the cookies necessary to allow you a better navigation. I will not use the data for any advertising promotion and I will not transfer them to third parties; I have no marketing interests.

Close