Another week and a bit more printmaking. This time etching, something I haven’t done for a very long time but remember fondly.
In this case you cover the plate with wax and then draw into that with a sharp pin. That removes the wax so when you place it in an acidic bath it erodes and forms a line to hold ink. Simple.
I used a quick drawing I had done of some local overflowing bins as the basis for my tests.
Like any print you can vary the amount of ink left on to gain intensity. And you can continue to draw in, most easily by using dry point.
Or printing with two colours like this rather vibrant green!
Recently I’ve been using the printmaking room at The Royal Drawing School, Shoreditch.
The idea is to run through a few different techniques. First up is dry point which essentially means scratching directly onto the printing plate. I find it a bit hard-work and tricky to get fluid lines but I guess that could come with more practice.
Here’s my print. It’s from a sketch I made while on a film set earlier this year where the main character (actually a young girl) is doing some wirework against green screens. Just in case you wondered why a figure is hanging from the ceiling – nothing bad is happening!
This first one is quite subtle, but you can get great variation by deciding how much to wipe the plate and remove the ink.
This is the same drawing, just a bit more ink left in.
And the good thing about dry point is you can draw into the plate as you go and add or remove detail.