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Woody Pear header

 

Etching is one of the more complicated and interesting printmaking techniques. By definition, an etched surface has been "eaten away" by some medium.  For metal surfaces, the most usual medium is acid of some variety.  I use zinc plates and etch the surface of  the plate with copper sulphate which is a safer alternative to any of the traditionally used acids.

The Dutch artist, Rembrandt, is credited with having developed the technique of etching or 'intaglio'. His work shows a mastery of this technique which has changed very little since he produced his prints in the 17th century.

The metal plate is covered with an etching "ground" which has a water-repellent wax base.  The design is drawn into the etching gound using a fine needle point.  The plate is then placed into the carefully mixed acid (or safer alternative) which eats away the metal in the places where the wax surface has been scratched to reveal the plate underneath.

When I feel the lines are etched deeply enough, the plate is cleaned to reveal the etched design.  The plate is inked, wiped off and printed through an etching press on to damp paper and the first print is pulled.

This process can be repeated many times on each plate until the artist is happy with the image.

I often add colour to my printed etchings with watercolour paint and  limit  the edition to 40 prints or less. 

Hand coloured etching  'Eucalyptus todtiana'
with the seed pods used to draw the design
Hand coloured etching 'Hakea laurina' with
the seed pods used to draw the design
Design sketched in book for layout on etching plate
Stages etching a plate    'Quandong' height 12cm x width 15cm
Stage 2
Aquatint added.  The first stage was the simple line drawing of the image.  I didn't print the plate at the first stage.
Stage 3
Plate is burnished on some surfaces to flatten the aquatint and lighten the tone. Background lines and plate texture added.
Stage 4
Lines etched on fruits for more tonal contrast.

Stage 5
Open bite and aquatint, putting tone on the backgound leaves and adding strength to the branches and fruits. I decided to print using Burnt Umber ink for the edition.

  Website updated December  2010   © Helen Clarke
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