After our success with drypoint, we are moving on to etching this week...
Etching plates can be adorned with simple mark-making or elaborate drawings.
Try to make it in your own style rather than expecting to replicate a Durer etching!
|Andrea Mae Miller, Three Kite III, 2005
Bamboo etching, 40x50cm, edition of 3
There are may different grounds you want to experiment with;
hard ground is great for line drawings,
soft ground makes textures easy,
'sugar lift' for a reverse block out (great for brush marks),
crayons for textured drawn lines, or spraypaint for a speckled effect, etc
(also, any permanent markers work well if using the aluminium & copper sulphate process).
|Elaine Mayer, XX
Etching, 28x38cm, edition of 5
The plate is then added to a corrosive liquid to 'eat away' the exposed areas.
Traditionally this was done with nitric acid on zinc or copper,
however, there are other methods such as the copper sulphate mordant on aluminium
which is outlined in Mark Graver's Non-Toxic Printmaking book.
|Anna Dalzel, Light Through Manuka, 2011
Etching & aquatint
|Lynne Taylor, Crossing Over, 2012
Intaglio, 40x44cm, edition of 8
|Jacqueline Aust, Ronaki, 2003
And if you want areas of block colour then perhaps try 'chine collé' (basically meaning 'tissue + paste')
Coloured tissue or fine japanese papers are cut or torn
then placed on an inked up plate to provide a solid coloured area
A little glue on the top means the tissue will stick to your main paper support when put through the press.
Etching is such a vast topic that it can't all be covered in this post, but it is a lot of fun!
My next project will be to explore etching using a metal router to reproduce a digital image.
I'll keep you updated on my experiments when complete.
Has anyone else used this medium that wants to share some info or ideas??