Norwich bulletin., 1916-07-07
OZIAs DODGE EXHIBITS
 TECHNICS IN NEW YORK.
Critics Enthuse Over Original Meth ods and Striking Effects of Work at Braun Galleries
A New York paper says:

A New York paper says:
 There is an exhibition of etchings at Braun & Co.,. 13 West F7odty-S Sixth street, Manhattan, of unusual interest, Ozias Dodge, of Norwich, Conn, form erly of Flushing, has been known for some years as a painter etcher, but his recent plates in color are a de- HghtfuI departure from the usual black or brown prints.
 The plates, themselves, a6 the usual copper plates. bitten with acid only that two are used for each print
 Mir. Dodge says:
 T see an effect out of doors that seems to be a lovely combination of simple lines and complementary col OrS-SOmething that you cant get the estenCe of in just black and white and then I wax a plate and get out to the spot as soon as possible and get a few lines at least on my copper, and more into my mind. My plates are almost always started out of doors, but usually finished indoors.
 'J etch the first plate with reference to the color I am going to print it in and when it is bitten with acid I pull a crude trial proof. If it looks prom ising, (when it does not the copper goes into the scrap heap) I lay this proof while still fresh face down on another waxed plate exactly the same size, and pull it through the press once wiGl light pressure. This gives a faint impression of every line on the second plate. Then I frequently take both plates out of doors and go on top is printed in a deep blue with with the second.
 For example, my plate "The Hill the first plate and a rich yellow in the second, and where I get the effect of the moon breaking through a green sky, both plates are worked upon until they print blue over yellow, giving the green effect. The lines of the trees fall upon this ground of green and become very dark slate blue while the water has only lines of the blue plate upon it and shows the exact shade the blue plate was printed in.
 "F7or even shades of color I often nlezzotint parts of the plate and take out the lights with a burniSher. Oc- CaSiOnally I lay an aquatint ground for the same purpose. I grind my own col Ors from the dry pigments in oil at way [ can get a pure tone of color in- stead of 9 muddy effect. I try to print in two complementary cOlors, such for instance, as sea foam blue and brown pink in The Evening on the Dunes'
 "1Iy plates are usually not very deeply bitten. and therefore only about fifty proofs are pulled before the plate is destroyed.
 "These little prints give Q full, rich note of contrasting cOsv"s, without the loss of the delicate drawings an dten- der feeling in each plate, and are quite unlike the usual muddy and blurred effects obtained when only one plate is used for color prints" says a critic.
 MT. Dodge's best plates call up some choice moment of the day or evening when earth and sky combine 10 strike an answering chord in the human heart. Composition of both color and form contribute in conveying this single impression and it is usual ly an impression with a universal ap- peal
 It is a pleasure to see sound draw ings and composition combined with so much feeling.