尼克·比森：佩尼亚斯科，NM版画家

尼克·比森是一个版画家，既创造单版画和铜版画，以及高卓蓝美术画廊佩尼亚斯科，新墨西哥州共同拥有。 Peñasco is several villages up the High Road fromTruchas.佩尼亚斯科是几个村子了高路从Truchas。 I asked him if he would tell us about his art andprocess.我问他，如果他会告诉我们关于他的艺术和工艺。 This is what he had tosay.这就是他说的话。

由尼克·比森

I wasfirst attracted to printmaking whiLe hanging out at the Zeller 9Gallery on the Fulham Road in London, situated (some would sayfortuitously) opposite The Goat In Bootspub.我是第一次吸引了，而挂在泽勒9画廊在富勒姆路在伦敦，位于（有些人会说偶然）对面的山羊在靴子酒馆版画。

I firststarted printing in the mid 80s inEngland.我第一次开始打印在80年代中期在英国。 After a set of etching classes at Winchester ArtCollege, I was trulyhooked.一组蚀刻类在温彻斯特艺术学院后，我真的上瘾了。

Fiveyears later, pursuit of an opportunity to live and work in the USAbrought me to the San Francisco Bay Area, and an intersection withthe Pacific Arts League of Palo Alto(PALPA).五年后，追求的机会，生活和工作在美国把我带到了旧金山湾区，并与帕洛阿尔托的太平洋艺术联盟（触诊）的交集。It wasthere that I switched allegiance from etching to monotypeprintmaking.在那里，我切换效忠从蚀刻版画蒙纳。

Thecatalyst was artist Adele Seltzer, who studied and worked with theamazing Nathan Oliveira.该催化剂是艺术家阿黛尔塞尔策，谁研究和惊人的弥敦道奥利维拉工作。 Iprinted under Adele's adroit direction and active encouragementboth at PALPA and her studio in Portola Valley,CA.我在阿黛尔的机敏方向，都在帕尔帕和她的Portola峡谷，加州工作室积极鼓励印刷。

For methe two major attractions of monotype printmaking are thespontaneity of the medium, and the unique translucency of amonotype that engenders a quality of light so different from otherprint styles or even a painting onpaper.对我来说，蒙纳版画的两大景点介质的自发性和蒙纳，才能产生光的质量，从而区别于其他打印样式，甚至在纸上绘画的独特半透明。Thesecontribute to a surface that is unlike any other art – truly acombination of printmaking, painting, and drawingmedia.这些都有助于表面是不同于任何其他的艺术 - 版画，绘画，绘画媒体的真正的结合。

My moveto northern New Mexico (first Taos, and then Llano de San Juan)came some time after my first, spellbinding visit in1990.我搬到新墨西哥州北部（第一陶斯，然后Llano的圣胡安）来到我的第一个，引人入胜于1990年访问之后一段时间。

我遇到了迈克尔守夜的陶斯和享有的机会，如此慷慨地给打印在他的工作室（图文展示），并吸收迈克尔自己的鼓舞人心的艺术和调色板的素质，以及他的父亲Veloy，和弟弟丹尼尔。

In 2010I switched back to etching, using copper rather than zinc or steelplates.在2010年我切换回蚀刻，使用铜而非锌或钢板。

Mycurrent suite of hard edged prints bear a reflection of thepolitical realities of living in the USA and northern New Mexico,where the sky, landscape, and especially the experiences andperspectives of the small, tough communities present a very strongsource ofinspiration.我现在的硬边打印套件承担居住在美国和新墨西哥州北部，那里的天空，风景，尤其是经验和小，坚韧社区的角度提出了一个很强烈的灵感源泉的政治现实的反映。Theseworks are in marked contrast to the art I have shown on the WestCoast.这些作品形成鲜明对比的艺术我已经表明在西海岸。

凹版印刷是使用蚀刻或雕刻版的印刷工艺。 The plate is smeared with ink and wiped clean,then the ink left in the recesses makes theprint.该板涂上油墨擦干净，然后留在凹槽墨水使打印。 Intaglio techniques include engraving, etching,drypoint, mezzotint, andaquatint.凹版技术包括雕刻，蚀刻，铜版画，铜版和飞尘。

蚀刻凹版技术; initiated in the early sixteenth century toexploit the discovery that application of acid can incise an imageinto a metal plate.在十六世纪初开始利用这个发现，应用酸可切割图像插入金属板。

Etchingmaybe regarded as a linear medium with the design and compositionof the print created as a set oflines.蚀刻可能视为与创建为一组行的打印的设计和组合物的线性介质。

Theclassic approach is where a metal plate is covered with a thinlayer of waxy, acid-resistant ground through which the printmakerscratches using a stylus/pointed etching needle, hence exposingareas of bare metal intended to define and delineate thedesign.经典的做法就是一个金属板覆盖着一层薄薄的蜡，耐酸地通过使用手写笔/尖头蚀刻针，从而露出裸机旨在定义和划定的区域设计的版画家划痕。Theplate is then washed with or dipped in a bath of acid, (mordant oretchant) which “bites” into the exposed metal, echoing the artist'soriginal lines through the ground, but now sunk into the metalplate.然后将板洗涤或浸渍在酸浴中，（媒染剂或蚀刻剂），其中“咬”入暴露的金属，通过地面呼应艺术家的原线，但现在陷入的金属板。

Thelonger the exposure of the plate to the acid, the deeper the bite,hence the stronger the line.该板的曝光时间越长的酸，更深的咬合，因而更强的行。Varyingdepths of line can be achieved by repeating the process ofapplication of acid-resistant stop-out to desired areas of theplate and thenre-biting.线的变化的深度，可通过重复应用的耐酸停止出到所述板的所需区域的过程，然后重新咬来实现。

Despitethe seemingly convoluted process, etchings can appear asintuitively and spontaneously derived, however the technique can beused to emulate the rigour and formality ofengraving.尽管看似错综复杂的过程，版画可以表现为直观，自然衍生的，但是这个技术可以用来模拟雕刻的严谨性和正规性。

Photogravure is the process ofprinting from an intaglio plate, etched according to a photographicimage.照相是印刷的从凹版印板的过程中，根据摄影图像的蚀刻。

Photo-etching is a technique ofusing light sensitive plates enabling creation of photorealisticetchings.光刻是利用光敏感板使创建照片般逼真的铜版画的技术。

Here'sthe process I have used at GraphicImpressions:下面是我使用的图形展示的过程：

Thedesign and composition of the print is created by adhering one ormore black and white negative images derived from photographs to asheet of mylar which is then placed in a light box together with aplate to which has been applied a photo-sensitivelayer.打印件的设计和组合物是由附着来自于照片，以聚酯薄膜的片材然后被放置在光盒连同在已被应用了光敏层的板的一个或多个黑白负像创建。

Light isprojected onto the plate as a negative image to exposeit.光被投射到该板作为负图像，以暴露它。 The plate is washed and cleaned, and then placedin an acid bath (ferricchloride).将板清洗干净，然后放置在酸浴中（氯化铁）。 The acid bites where light has passed through thenegative hence hitting the photosensitive layer of theplate.酸咬在光已经通过负，因此撞击板的感光层。

Once thephoto-etching process is complete, the plate can be worked furtheras a normal intaglio plate – the final result being an intaglioplate which is printed like anyother.一旦光蚀刻工艺完成后，该板可以被进一步加工，作为一个正常的凹版 -最终的结果是通过印像任何其他的凹版。

Types of metal plates (etchingsubstrates) 金属板类型（蚀刻基板）

Copperis the traditional and normally preferred metal foretching.铜是传统的，通常首选金属蚀刻。 Copper is capable of etching finer details, bitesevenly, holding line and texture well in the acid bath, and doesnot distort the colour of the ink whenwiped.铜是能够蚀刻更精细的细节的，咬均匀，牵着线条和纹理以及在酸浴中，并擦拭时不变形油墨的颜色。

Zinc ischeaper than copper but does not bite as cleanly and alters somecolours of ink.锌比铜便宜，但不咬人的干净和改变墨水的一些颜色。

Steelhas a natural and rich aquatint and the line quality of steel isnot as fine as that from copper, but is finer thanzinc.钢具有自然和丰富的飞尘和钢线质量不细如从铜，但比锌更细。

A brief list of (among multitudes)favorite and inspiring artists的（在众人）最喜欢的和鼓舞人心的艺术家一个简短的清单

FrancisBacon, Willem de Kooning, Franz Kline, Nathan Olivera, Juan Gris,Richard Diebenkorn, Jean Michel Basquiat, Andy Warhol, Mark Rothko,Fritz Scholder, Cy Twombly, Robert Rauschenberg, John Chamberlain,RB Kitaj, Antoni Tapies, Joseph Cornell, Frank Auerbach, LeonKossoff, Manuel Neri, Wayne Thiebeaud, Henry Moore, David Nash,Larry Rivers, Jim Dine, Anthony Caro, Robert Motherwell, PaulPletka, Tetsuya Noda, Masami Teraoka, Ukiyo-e artists – KitagawaUtamaro, Taiso Yoshitoshi and KatsushikaHokusai.弗朗西斯·培根，威廉·德库宁，弗朗茨·克莱恩，弥敦道奥利维拉，胡安·格里斯，理查德Diebenkorn，让·米歇尔·巴斯奎特，安迪·沃霍尔，罗斯科，弗里茨Scholder，赛扬Twombly案，罗伯特·劳申伯格，约翰·张伯伦，RBKitaj，安东尼·塔皮埃斯，约瑟夫·康奈尔，弗兰克·奥尔巴赫，莱昂KOSSOFF，曼努埃尔·内里，韦恩Thiebeaud，亨利·摩尔，大卫·纳什，拉里·里弗斯，吉姆佳肴，安东尼·卡罗，罗伯特·马瑟韦尔，保罗Pletka，野田哲也，寺冈昌美，浮世绘艺术家- 北川Utamaro，Taiso和嘉利葛饰北斋。

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梦想与现实之间的磨合让我读懂很多生活的语言，风虽改变了方向，却没有改变我的行程-----

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