About Digigraphs

Traditional methods of printmaking have existed for centuries. They all involve the transfer of ink from a substrate to paper, and fall into the basic categories of raised relief surfaces (i.e. woodcuts, linoleum cuts); etching (intaglio, engraving, mezzotint, etc.); lithography (based on the incompatibilities of oil and water); and stenciling (serigraphy or silk screen).

Through technological developments in photography and offset printing (basically lithography, except the ink is transferred twice -- from the plate to a blanket to the paper), the reproduction of fine works of art has become an artform unto itself. Experienced and dedicated printers can reproduce the visual qualities of a wide variety of media with convincing accuracy.

Although this technology has brought affordable art to a larger audience than hand-pulled prints, it only represents or simulates an actual medium. For many serious printmakers, the tactile and olfactory charactertistics lose something in the translation to offset. Still, artists are usually open to new technologies and techniques, and a new medium is being explored for fine art printmaking.

With the development of computer technology, we now have the ability to spray ink onto paper with digital printers, creating giclee (French for "to spray", pronounced zhee clay) prints. Because common usage of the technique has become associated with the reproduction of other media, Rita has chosen to call her prints "digigraphs". Like other printmaking methods, digigraphs are done one at a time. Also like traditional printmaking methods, the intent is to create multiple originals. The computer allows that to happen with precision.

The traditional printmaking method I chose many years ago was serigraphy. Not only is it the only printmaking method which does not have to be reversed in order to print correctly, it allows the printing of flat areas of color that create an abstraction of the subject. I have combined that abstraction with the "reality" of photography, using colors which evoke a mood.

My newest prints are digital extensions of my serigraphy techniques. The image is created by computer rather than in the darkroom. Although the software and printing technology allow extreme photographic realism, I choose to continue abstracting through the use of flat shapes of color.

As Piccasso said, "All art is a lie. It is a lie which makes us realize the truth." Contrary to what many people believe, a photograph is not real. It's only dyes lying on the surface of the paper, tricking you into thinking you are seeing something real.

My digigraphs are not photographs; they are not reality. They are expressions about my world and my life experiences.