Tempera Painting

The medium of tempera is chosen for its longevity (as medieval paintings prove), and its remarkably clear and subtle colours. As this medium is not commonly in use, Geneva learned the ancient technique of tempera painting mainly from Daniel V. Thompson's Book, The Practice of Tempera Painting. The work is executed on a chalk gesso panel, using paint made by the artist from earth and mineral pigments, water, and tempered with fresh egg yolk as the binder. After twenty years she is still learning the different physical characteristics of each of these different pigments.

Intaglio Printmaking

An Original Print is an image, usually on paper, made by one or more processes, but since more than one impression is possible, "original" is not "unique". Prints are multiple originals. Each etching is made individually, by hand, using an etching press to print it.

The development of intaglio printmaking (etching) is rooted in the ancient craft of ornamentation of armour, weapons, musical instruments and religious objects. The innovation of the printing press, circa 1430 in Germany, opened new outlets for the utilization of ancient metal working techniques in graphic applications. Among the many artists who have used this medium are: Rembrandt, Goya, Picasso, and Chagall.

"Each step in the etching process may be very largely mechanical, subject only partially to individual control; but the handling of all the stages and the manner in which they are combined make for an entirely individual and sensitive results; judged by any standards, etching is a true fine arts medium...the artist must, as it were, play one mechanical step against another in order to exploit the medium to the fullest extent; he cannot control the sensitive quality of line, mass, or tone directly or completely in any single one of his operations. A technically perfect etching is distinguishable at a glance; technique and artistic accomplishment are more closely related in etching than in any other graphic medium". Ralph Mayer, The Artist's Handbook of Materials & Techniques, 5th edition (1991), p.588.

Traditional methods of etching the metal plate involve the use of hazardous chemicals. However, Galvanic processes, developed in the 1840s, use low voltage electricity to etch the metal plate, instead of acid. Many advances in inks, solvents, and resists have made the process virtually non-toxic. In 2008 a non-toxic printmaking studio was constructed from information obtained on the internet from Cedric Green. Explorations continue in this medium.