Both massive and sophisticated Intaglio’s creation is a brand new and exciting take on the doom death genre.Īll sounds of the recording are 100%. "II" was recorded and mixed at Slow Burn Studio (When Nothing Remains, Woe Unto Me), was mastered by Mika Jussila (Shape Of Despair, Isole, Unholy, Moonspell) at the legendary Finnvox studio in Finland, and includes stunning cover art crafted by the Polish artist Mariusz Lewandowski (Bell Witch, Atramentus) and designed to highlight and complement the album's unique music.
#INTAGLIO TECHNIQUES FULL#
The album is a conceptual work with compositions and lyrics united as a single large piece, and for the full experience should be listened to from beginning to end in order to completely immerse the listener into its atmosphere.
#INTAGLIO TECHNIQUES PROFESSIONAL#
Only live instruments were used in the recording, including classical ones such as cello and upright bass, and professional vocalists with voices varying from basso profundo to soprano have created a unique palette of sounds. The album can be described as a "doom opera" and will not only amaze old fans of the band, but should also interest new listeners with the contributions Intaglio has made to the development of the style.Ī large form was used on "II", which is exceedingly rare in metal and rock music. Intaglio printing from copper plates, as illustrated in Diderot's Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, vol.After many years of silence Intaglio has released a new full-length album called “II”. Read more about intaglio in Oxford Art Online. It is common for printmakers to combine several of these processes in a single print. The resulting surface can be inked and printed using an intaglio press. Intaglio printmaking includes etching, engraving, drypoint and aquatint. The acid bites the plate around the grains of resin, leaving incised areas that have a speckled pattern.Ĭollagraph, also referred to as collage intaglio, is a less standardized method, achieved by attaching elements-pieces of metal, string, textured papers, fabric, etc.-to a plate. Etching is a form of intaglio printmaking.
When the resin is heated, it sticks to the plate, which is then immersed in acid, as with etching. The plate is then inked and printed as with an engraving.Īquatint involves the use of varnish to “stop out” the portions of the plate that will not be etched, followed by the application of grains of resin. The negative image is formed when the artist smooths out the rough burrs to varying depths, creating gradations of tone. More recently many of the techniques used to protect these high value documents have become more available to commercial printers. Were the plate to be printed at this rough stage, the image would be a rich black. Intaglio Security Printing is specialized in Security printing as printing industry that deals with the printing of items such as passports. To prepare a plate for mezzotint, the plate surface is roughened using a tool called a rocker. When the plate is immersed in an acid bath, the acid “bites” the lines not covered by wax and leaves the waxed portions untouched. The plate is coated in wax, upon which the artist draws lines that reveal the surface of the plate. With etching, the incising of the plate is achieved through a chemical rather than physical process. ( Drypoint is a related process, in which a sharp point, scratched into the plate, creates shallow lines with rought edges.)
The resulting print has regular lines, spaced and crosshatched to create varying gradations of light and shade. Engraving involves the physical cutting of lines into a plate using a tool called a burin.
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