Wednesday, 6 November 2013

#476 In the studio: Etching, the process, con't . . .

Start this series with Post # 470, October 16, 2013.

Below, while some etchings are tinted with transparent watercolor, some editions are not.  
When the printing process has been completed, each print is signed and numbered, always in pencil.
My editions are limited to 100 or less, not including artist's proofs.


Below, the finished etching. . . entitled,  "Wild Turkeys".

After the first proof has been pulled, I sometimes go back and repeat any of the preceding steps in to improve the work.  Once I arrive at a proof which feels "right", I designate it as the bon a tirer, which is French for "good to try". . .
this serves as a guide to the entire edition.

The concept of an etching as an original work of art is justified by the ability, in fact the necessity,
of the artist to determine the artistic essence of each individual print.
It is important that the etching process should not be confused with modern photographic printing methods.

Drawing is, of course, the first and main ingredient of an etching, and it is at this point that the artist determines the composition of the print.  But the next step, the acid baths, will determine the shading and tone,
the subtle differences in the etched lines.  Finally, the plate is inked and wiped for each print,
the artist deciding how much or how little ink to leave on the plate surface - which is called plate tone.

When the print is finished, it is signed and numbered, and rightly so, for an etching is a highly
individualistic work of art - an original - which has its own unique characteristics.

When the edition printing is completed, the etching plate is cancelled . . . cut up or defaced, making further production impossible.  These steps insure the high quality and lasting value of each print.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott

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