
Valeria Gasparrini ( Rome, 1964), was formed thanks to a rich contribution of artistic and literary experiences: classical studies, research in ceramics, painting, fresco, engraving, drawing from life; attended the three-year course of illustration at the IED, and was trained in the graphic engraved at the Stamperia del Tevere , in Rome. Today she works as an artist, as an advertising illustrator and freelance editorial, as a teacher of drawing, visual and illustration at Quasar Design University, the Academy of Fine Arts of L'Aquila ABAQ, the American University in Rome AUR. He draws live in theatrical performances, and realizes performances with stage machines of various nature that builds and animates on stage. As an artist he has participated in personal and collective exhibitions, and passionately dedicates himself to the creation of artist’s books, combining his remarkable illustrative nature with the infinite expressive possibilities of engraving techniques.
He has exhibited in Rome, Milan, Bologna, Faenza, Venice, Paris, Luxembourg, Rothemburg. Some of his works are part of permanent exhibitions, such as the ceramic work "Rain" at the International Museum of ceramics in Faenza, the artist book "How many irreplaceable lives", exhibited at the national library of Luxembourg, and its printed version exhibited at the Casa della Memoria in Rome.
Daniele Scalise, Loris Schermi, Francesca Tuscano, Michèle Wallenborn, Devin Kovach, Sarah Linford, Gianluca Tedaldi. Valeria Bertesina. For interested people, I am writing to offer the highest recommendation for Valeria Gasparrini who has held two engraving workshops for the Rome Center of Architecture and Culture at Woodbury University which I direct. He guided the students' works, taking them from the initial drawings to the creation of the definitive prints and their possible display in an exhibition. I find her one of the most creatively contagious and inspiring people with whom I have had the opportunity to collaborate. Let me take the liberty of offering a few details regarding his remarkable abilities. To begin with, she is a very competent artist in her field. She is also generous in sharing her experience and does so with great enthusiasm. In the initial phase of the projects he offers numerous approaches, both experimental and conventional, with the aim of giving birth to works of art that can then be created on slabs. In the workshops we used zinc and copper plates, and the results were surprising. It featured field sketching exercises, complex mapping projects, and digital plate file translations. It has provided Woodbury with some of the most powerful and transformative learning experiences students have had in Rome; also in relation to what they do at home. Our students love her and she has been there for them every step of the way, teaching them techniques to achieve their creative goals. It is a magical moment when the students complete the drawings, prepare the plates, ink them working in their studio. And then they print them. This would not have been possible for us without Valeria's expertise. Thank you for the opportunity to offer a great recommendation for Valeria and I would be happy to discuss her merits further should you wish to contact me at my email: paulette.singey@gmail.c
Best regards Paulette Singley Woodbury University professor, Director of the Rome Center for Architecture and Culture
It is called “a la poupèe” printing when not only one ink is used in the inking of the chalcographic matrix, but several inks are used simultaneously. The ink can be spread with the spatula or with the pad; in both cases the areas of different colors can be juxtaposed, superimposed or you can leave a small intermediate area not inked, which will be “soiled” with the color when cleaning the plate. The process of cleaning the plate is that of chalcographic printing: removing excess color with the tarlatan, cleaning with paper (telephone directories are the best) with small rotary movements by gently pressing with the palm of the hand and frequently changing the paper.
In the print a la poupée generally you start with the lighter color, then clean the excesses of the color just given and then switch to the darker colors repeating the same cleaning process. If the areas to be colored are small, you must have small pads (even a ball of cloth to hold between your fingers) or sometimes use your finger for this purpose. If the colors overlap, the color that will result during printing will be the sum of the two colors (the printing inks are transparent enough); if they are juxtaposed the cleaning movement of the plate will still blur the border line. If you leave a small area between colors, the cleaning movement will “dirty” this area without ink, first with one color and then with the other. The resulting color will be lighter and brighter than the overlap of two inks, because it will be the result of the overlap of two shades.
Welcome, this is my site. I only use it to show my work, without advertising. I have no intention of communicating the data to third parties for advertising purposes; the cookies that I ask you to accept are only for you to enjoy good navigation and for me to understand how to improve it. More info
This site uses only the cookies necessary to allow you a better navigation. I will not use the data for any advertising promotion and I will not transfer them to third parties; I have no marketing interests.