Thursday, 26 March 2015

Etching process - Weathered effects

Here we go... my biggest plate yet! From sketches made on the spot to the final print..

Some of the sketches used as reference -
sketches provide the feel and the memory as well as a record of details such as the pitch and tilt of this lane.
Photographic reference shows the location but was not very helpful in seeing the undulations of the weathered, worn away surface. My amateur photography can flatten a view and disguise the original interest in a place.
Proof stage 4
Successive layers of open bite sugar lift and stop out resist provide structure and shape.

Its good to see I could go bigger than this plate!

The following close-ups show details - the plate has had a few more dips in the ferric. Further stop out washes and some combination aquatint and spit bite aquatint dips. All in the name of definition. Aquatints have been kept to a minimum to maintain a crispness in the final image.

Layers of open bite textures give the ground its worn, trampled and rain channeled surface. The multiple layers aim to hint at years of exposure and time worn impact on the lane.

Proof stage 6 - the plate looks much richer
Weathered and worn etching 66 x 44 cm
The final print achieves much of what I was hoping for, I'm really pleased that the layers of sugar lift allow each mark to survive each bite, and build up a sense of time having passed on this lane's surface. The print is now on show at 'Alchemy', Museum in The Park, Stroud.


Sue Brown said...

Just love seeing the process. I am looking forward to seeing it in the flesh tomorrow.

Charlton Stitcher said...

This is beautiful and it's so fascinating to see the process - though as a non-etcher much of the vocabulary is lost on me, I'm afraid. You inspire me to investigate!