The Making of 'Tranche de Vie (Slice of Life)'

The basic idea of Tranche de Vie (Slice of Life) is a passage through the human body, from the front of the chest to the back. The section of body is contained between covers of human hair embroidered onto loose weave cloth.

Upscaling the anatomical sketch and mapping out the points of intersection, then adding hardground, proofing, applying aquatint and stopping out areas to keep them blank. My reference comes from the Visible Human Project.

After my last book Macroscopic-Microscopic, I decided to use a thicker paper as the Ino Shi was too thin to stand up with draughts, even after starching it.

The letterpress process was difficult with white on red oxide paper, so I dusted white pigment onto the title just after printing.

In the first proofs (below), the white ink in the fine-lined details turned grey.

To solve this problem, my tutor suggested some ideas: - Introduce drypoint on the plates to give the ink more surface area - Mix white pigment into the white etching ink to increase opacity and stiffness - If this doesn't work, add calcium carbonate to further stiffen the ink - Ink all of the red areas first before adding any white, use tissue paper until clean and then after adding white, only use scrim to take off excess.

After proofing all eight plates for the first time several problems occurred, I forgot to continue red shapes that I was adding post-etch, some of the paper lifted off onto the plate, colour tones did not match between plates, and I preferred the prints with litho ink rolled over the top. Again, my tutor had some solutions:

• In regards to the a la poupeé colour tone differences - don't add dark red (almost black) and red at the same time with card. Add red with card first then introduce dark ink later with scrim.

• Dampen the paper the day before and store in plastic ready to use the next morning

• Redo areas of drypoint in-between printing because it will be flattened by the press.

• Consider using two plates, one with the litho ink

• To even tones after printing you can use chalk pastel to darken areas.

• You can dry and press prints at the same time using tissue paper and boards, with a stone on top.

The plates continued to be difficult to print. I eventually found that it was more effective to print the red inks and litho ink rolled over the top first, left to dry for about a day and then the pale ink printed over last.

The covers are made from mull embroidered with human hair to continue the thematic material of the book.

The binding of this book is unusual for a leporello, instead of one long piece of paper folded, it is single sheets bound with fabric and thread.

Tranche de Vie (Slice of Life), April 2024, eight etchings with aquatint on Hahnemühle with letterpress, red oxide and human hair.