About Artist: (born Chitoor, Andhra Pradesh, 15 July 1925) is an Indian printmaker and sculptor.He studied at Vishva-Bharati University, Shantiniketan, West Bengal, from 1941 to 1946, with a degree in Fine Arts. From 1947-1950, Reddy was head of the Art section at Kalakshetra, Madras. From 1951-1952 he continued his studies at the Slade School of Fine Art, University College, University of London. It was here that he studied sculpture un Ossip Zadkine and Marino Marini in Milan and engraving under Stanley William Hayter in Paris.Considered a master in intaglio printmaking, Krishna Reddy has been guest professor at many top-ranking universities in the USA. Since 1965 he has been an associate director at Hayter's Atelier 17 in Paris. Reddy received the Padma Shri in 1972, in recognition of his distinguished contributions to art. Reddy's technique and style have distinguished him as one of the best printmakers of the world. Reddy's prints are abstract. He creates subtle grid-like designs on his plates with intricate texturisations. The myriad complex colour that he introduces in prints are marked by a contemplative approach to the infinite mysteries of nature. While working at Atelier 17, Krishna Reddy was instrumental in developing a new printing process to produce multi-colored prints from a single printing matrix by exploiting the viscosity and tackiness of the inks, subsequently named viscosity printing. Sticky and thick ink does not roll down on top of oily, runny ink, but oily and runny ink does roll down on top of sticky and thick. Inks of different tack and viscosity are employed to edition multi-colored prints off of deeply etched and carved metal printing plates. This process reveals the three dimensionality of the printing matrix to a significant degree. In the case of a printing matrix with three distinct areas; textured, original surface, and areas that have been smoothly etched to a lower level, each area will print in a different color. The matrix is inked and wiped as an intaglio using etching ink for the first color. A hard roller with slightly runny ink is used to put a layer of ink onto the original surface for the second color. Etching ink is often fairly viscous, but has very low tack so the second color does not adhere to the textured areas. A soft roller with stiff ink is rolled over the entire plate for the third color. The matrix is printed just like any intaglio. When this is carefully done each color is distinct and the process is repeatable. Each step in this process is sensitive to the point that most printmakers employ it for producing monotypes and monoprints rather than editions.
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