on etching......

I have been learning the art of etching (a very traditional way of printmaking) over the past several years and am coming to find my way, slowly. I write about the technique here because it is one of those art forms which I will probably always be drawn to. I love small etchings, in little frames with lovely inked areas of color and delicate lines. Most of the famous artists whose work I love to look at have  found their way to etching. Richard Diebenkorn, one of my favorites, made many beautiful etchings, many of them at Crown Point Press, a legendary printmaking studio in San Francisco. I will likely not become an etching expert (an "etch-pert?) because there are lots of other forms of printmaking that I prefer--monotype, collograph, and relief printing. Less process, more spontaneity. But I am enamored with the etching results and find I am really enjoying the review class/open work session I am enrolled in right now at  my local art center. 

Etching is, in it's most commonly known form, a copper or other metal plate that has been incised with a drawing or ink painting, using line and built up tonal areas using crosshatching, oil paint, or even photos burned into the copper. The plate is then dipped into an acid bath(and later dipped again for darker tones) as the acid bites away at the copper( the word "etching" means "to eat" in Dutch) , leaving a series of deep grooves and carved away areas. Later, these "bitten" marks will hold ink and appear as a positive image when printed on paper using a printing press. The areas that are to remain untouched by ink are protected with a material that is acid resistant. This material is called "ground" and can be made of asphalt, rosin (from the sap of a tree) or wax among other substances. There are many steps to etching and one must be mindful of the amount of time the plate is left in the acid bath, the way one rubs ink on the plate before printing, and the order and time one leaves the plate in subsequent acid bath dips to make darker areas.

After my first class in this process I swore I would never do etching again. It was complicated and I couldn't understand my own notes scrawled in my notebook. Even now after a couple more classes I consistently forget the order of things, and which liquids are used to take off ground and clean plates. It's not an intuitive process for me but I am drawn to it anyway! I have made a few little pieces I like and see improvement in my process and technical abilities. I think as an artist one of the most pleasurable things is to learn how things are made, the Magical Secrets of the story behind the works of art we know and love. Then, even if that technique or medium doesn't become our favored medium, we have gained a deeper knowledge about the work we enjoy. Maybe later we'll become the "etch-pert"....ya never know! 

Silver Clay is Cool!

 I spent this past weekend selling my jewelry and prints at the Buckman Art Show and Sell, a fabulous annual fundraiser for the only Arts Elementary Magnet School in Portland. My silver jewelry was of great interest to my customers, because the details and textures you can get in a small, intimate scale are almost like little prints and tiny things always charm people! I love the metal clay work for this reason--it is akin to printmaking, a discipline I am in love with and am continuing to learn about in my 2-year Fine Art Certificate Program at Pacific Northwest College of Art, here in Portland, Oregon. Currently I am taking an etching class, learning about the techniques the old masters used to make intimate and intricate artworks that we still admire and emulate today.  

When I form a lump of Metal Clay into a piece of silver jewelry, I start by rolling out the clay to make a flat ground, much like a prepared substrate for the printing press. Onto this surface I push textured material from diverse sources, including rubber stamps, polymer or fiber. In this sense, I am working the surface into an intaglio print, with the indented surfaces being able to take a darkening agent, or patina, so that the image or texture comes into sharper focus. The result is a miniature etching, a small piece of unique art, because each image is printed individually and is one of a kind. Each time I press my texture into the clay, a different result happens.   The piece pictured in this blog post is a thistle, one of my favorite flowers. The thistle is the symbol of Scotland, where I spent a semester in college. The thistle and other wildflowers feature in my artwork regularly. I was happy when I found I had an old rubber stamp with the image of a Celtic tree, including thistles, a bird of paradise and other flora & fauna (I love using that phrase!). I use this texture plate frequently since there are so many little areas from which I can grab a texture. Do you see which thistle I used?