Marliese Scheller's black and white period is furthermore defined by a collection of ink drawings which style remains strictly a graphic one. The notion of relief is brought about by positive and negative values and the modelling is rendered with a minimum. If the essential graphic quality of the woodcut is present, the medium differs in principle. In woodcut, the design is raised in relief, ink is applied to the crests and the motif transferred onto the paper.
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In her black and white drawings, the negative or subtractive process is absent in the sense that the artist works positively to produce striking effects of black on white surfaces, consequently, applying the relief process of the graphic technique directly on to the paper. By doing so, she transcribes the graphic medium in an innovative manner enabling larger renderings, finer and firmer lines and details. This process, however, does not allow preliminary proofing or ad infinitum editions.