Eric Levert on the benefits and details of analogue printing processes.
9 March, 2024
After obtaining his diploma at the Rietveld Academy, Eric Levert became a member of the Graphic Collective Thoets in Amsterdam. Learning from a French master printer from the studio Lacouriere et Frelaut in Paris, Levert starts working as a professional printmaker in 1987. Producing etching plates for international artists, Levert has built up a great experience in printing with different techniques. Currently working as an independent printmaker, Levert is appreciated for his accurate working method, expertise and collaborative approach.
After a while I started printing on demand in my own atelier. I also became technical assistant at AGA (graphic workshop in Amsterdam). At this place I came in contact with the photopolymer technique. I attended several workshops, did a lot of testing myself and after a year or two, I started offering this technique to photographers. The analogue way of printing photographs (instead of digital printing) did interest me, together with the beautiful velvet black that is possible with this technique. Digital printing can feel somewhat too smooth, too slick. With photopolymer “the imperfect is perfect” (-Wabi Sabi)
The significance and the beauty of the photopolymer technique is that it is handmade, so every print feels unique. And the result is a vivid and tactile artwork.
The significance and the beauty of the photopolymer technique is that it is handmade, so every print feels unique. And the result is a vivid and tactile artwork. As I am working with photographers I notice that quite a lot are leaning towards the analogue way. I think, by now, they are familiar with digital print techniques and are looking for analogue ways, such as the revival of LP records, music cassettes and so on.
In the present day also art school students are curious to try etching, lithography and woodcut (lino). It is important for students to understand the analogue printing process in order to appreciate how this technique can elevate the artwork to a next level.
What advice would you give to aspiring printmakers and artists, particularly in the field of photopolymer etching?
Have patience and take time to develop the skill. Be aware that it is a craft that takes time to master.
Can you share a memorable or favourite commissioned project that you’ve worked on - What made it stand out?
1) The first time I had to make a copper plate etching for an artist at the Printshop.
2) The first show of Paul Cupido with a lot (about 30-40) of toyobo prints I made for him.
3) Printing a record cover in the Rembrandt house in Amsterdam.
4) Experimenting for different photographers, such as with Japanese paper, gold leaf, fabric, cast, etc.
Printing for other people is quite different than printing your own work. You have to be capable to make a print as close to the original one and be capable of printing editions.
Through your journey, can you recall any experiences that have catalysed your progression as a printmaker and artist? Have there been any resources or materials you have found particularly helpful?
The workshop that was given by a masterprinter from Paris: it was extremely inspiring to see the craftsmanship in all its facets. Also working with all the different artists (with different wishes) at the Printshop. As for the materials: I think good blankets are very important (besides the press obviously). For printing: I use woven blankets from Belgium. For photopolymer: a good printer of course - I use an Epson P6000 - calibration and profiling tool - I use the X-Rite i1 PRO3 - and software for printing Direct to Plate.
All Rights Reserved – Text © Luke Newbould
Images © Paul Cupido
Images © Paul Cupido