Drypoint Etching - WIP Chartley Castle.

So here we go again with my second WIP , this one being a drypoint etching, one of my favourite printmaking techniques, it's simple, straightforward and clean, no chemicals and harmful acids are used, which are normally associated with the etching process. It differs considerably to my last demo of a monotype, with this method as with any etching for that matter, it can be editioned, the print run is dependent on the material of the plate, aluminium for instance will yield less sharp prints. I am using clear Perspex here. 1.2mm thick so is ideal to pass through the steel rollers and give me that all important indentation from the plate to the paper, a true sign that you are looking at an etching. This will be brief as much of the process has already been covered in the last demo. STAGE 1 Sketch out your design if required, here again I have opted for an actual castle so I had to make sure it would print the right way round visually, so I used the tracing paper technique again. Scratch out your lines using anything that will make a mark basically, there are all manner of tools on the market which may help, I tend to stick with a simple and basic set of etching needles. Various grades of roughish sandpaper are useful, but don't overdo this, I tend to use it on skies (very carefully), or on areas that you want dense, such as a foreground. Make different marks with the needles, you will see in my example that virtually anything goes and if you do slip with a point, don't let that bother you (as long as you havn't stabbed yourself of course), This may seem a bit laborious but it is surprising how quickly this can be done, the demo piece took around 30 mins to complete this stage max.

Stage 2 is a matter of inking the plate, making sure that every line or scratch is filled in. (I use Caligo printers ink thinned down as before) The best material to use is fine 'scrim', readily available from printmakers, it is slightly coarse in texture and the best stuff by far to remove the surplus ink. I have run out so I have used kitchen roll, not as good but it got me through as a temporary measure. Then, as before, position this inked plate on the baseboard of the press, add the damp paper, I have used Fabriano Rossapina 220gsm again, place the blanket in position and hey presto, roll the whole thing through the press, using considerable pressure and there you have it, one rather splendid drypoint etching if you are lucky. Actually, there is very little to go wrong and I can virtually guarantee a decent print each time, but I have had a fair bit of experience over the years. I've never tried this method without a press, and I don't realistically think it is possible to get a decent image, the pressure required to suck the ink from the incised lines is enormous. Quite a few colleges and other places do offer press facilities on an hourly basis, often with help available, just a matter of booking your slot, and having some incised plates ready, all you do then is ink up, don't forget to bring your own paper and ink, and off you go. There will usually be some kind hearted sole who will be only too pleased to give you some guidance, so that's ruled myself and Robert out then...

I don't know why but the photo's seem to appear opposite to how I placed them, however, I'm sure that it's all as clear as mud, well, I do hope not of course and I am here to help if you have any questions. This is the finished piece, well, actually I pulled another one off, adding a spot of Rubine Red to the Burnt Umber to see how it looked, although I do prefer the first colour. I have, or will be, making this an edition of ten, could have perhaps done more, around 20 or so is possible with acrylic plates before too much detail is lost. This gives me the opportunity to display them in various outlets, and this is my intention, all framed with a 3cm black wood moulding (Yes, I do make all my own frames, having access to a Morso guillotine and an underpinner), little wonder that I am so busy, but better than stagnating. You will see that I have used the same method as before of labelling each print, this one being !/10, 2/10 and so on. Once I have printed the tenth one, the plate should always be rendered useless and unprintable by heavily scoring it, and kept on file.

Sounds like you had a bargain Syd, I'm never that lucky at auctions, but I used to buy quite a bit of art at one time, anyway, glad you like my WIP.

It doesn't seem like two years ago that I wrote all this lot. There was initial interest in both the etching and monotype printing processes, and I am aware of course, that Gudrun has posted some super monotypes on here since then. To venture into drypoint etching, or virtually any other type of etching with any conviction, does require a quality press which are expensive for a decent make. The cheaper, more 'school' one's that are out there are a complete waste of money, so don't be tempted. They are not adequately engineered or sturdy enough, and failure is a certainty. ( unless you are happy with something resembling the quality of a potato print!) which I'm not... I've seen the press that Fiona has acquired (she did send me a pic on my request and I am familiar with the maker), and it's a top make and up there with the best. So now dear Fiona, you are under intense pressure (no pun intended), to show us all what you can do!, we are all waiting. I'm at hand to iron out any little problems that you WILL incur along the way.