For Rollo engraving a form was another way of doing sculpture that preceded or followed the creation of the three-dimensional object. In almost all his graphic works, the artist used the technique of copperplate engraving, i.e. engraving a shaped plate of copper or aluminum with a thickness of at least two millimeters and using it to leave an impression, often without inking the plate, on a sheet of paper. From this he obtained three prints, one in white, one in black and one in sanguine. When, around 1982, he started to make use of colored marble and stone, the engraving became a way of exploring the chromatic as well as spatial effect. He started to make deep cuts in the plate, sometimes even carving it with a scalpel, in order to obtain the appearance of granite and high relief in the prints, almost always one-offs. The colors chosen were the blues of granite or Brazilian quartz, the green of jade or Alpine green marble and the yellow of Giallo Siena marble. What he sought, in fact, was a visualization of the sculptural form.


			The Graphic Work

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			For Rollo engraving a form was another way of doing sculpture that preceded or followed the creation of the three-dimensional object. In almost all his graphic works, the artist used the technique of copperplate engraving, i.e. engraving a shaped plate of copper or aluminum with a thickness of at least two millimeters and using it to leave an impression, often without inking the plate, on a sheet of paper. From this he obtained three prints, one in white, one in black and one in sanguine. When, around 1982, he started to make use of colored marble and stone, the engraving became a way of exploring the chromatic as well as spatial effect. He started to make deep cuts in the plate, sometimes even carving it with a scalpel, in order to obtain the appearance of granite and high relief in the prints, almost always one-offs. The colors chosen were the blues of granite or Brazilian quartz, the green of jade or Alpine green marble and the yellow of Giallo Siena marble. What he sought, in fact, was a visualization of the sculptural form.