Seduco 37 Drawing

If, as a kid, having as neighbors a painter and his wife practicing the art of tapestry, I spent some Wednesday afternoons painting gouaches in their studio, this statement above is supposed to fulfill the function of a curriculum vitae or a biography, to initiate the explanation (which largely escapes me) of this need to draw. Regarding my training, I am part of a generation which, during my architecture studies, experienced the transition from technical drawing by hand to the computer tool. So I had the opportunity to practice both. One of my concerns in the workshop focused for ten years on digital printing, how to be both economical while having a concern for the conservation of a print, facing an obsolescence of consumables and prints. At the very beginning of this initiative, I manipulated a needle printer by injecting India ink into the ribbon. The needle printer works much like a typewriter. Already then, the giclee prints were on the market. This type of inkjet printing is the most powerful in image resolution, but it still means a dependence on existing brands and their ink cartridges. So there is also a wish to maintain good fidelity with the digitization of a drawing that I did obtain very late. Today, after having meanwhile tinkered with my scanner in order to digitize drawings measuring 19,7x19,7 inches, and, among other things, having provided a colossal job to retranslate with free software (in particular Gimp), the passage of a line drawn by hand, scanned then printed while remaining faithful to the particular grain of the original, I have developed a permanent way of fixing a laser print on papers which can for example have a grammage of 20 g / m². The consumable is a remanufactured toner that I change every six to twelve months. My second-hand printer cost me 60 euros at the time. The books that I self-publish bear witness to this latest development. From this technique where, using a mini CNC machine, I could obtain some drypoint engravings.