Expressing, responding & unexpected findings
Etching - new beginnings at Edinburgh Printmakers
The images that follow are the latest outpouring from the extremely limited time that I have at EP, every fortnight is so ... it's great that I am there in the first place - but - so - frustrating. I have 4hrs to do it all, I know when it's time to run and catch the train that I have been working.
By default printmaking is time consuming, preparation of plates ( degreasing, grounds), biting in acid (this is very different to nitric - a lot slower, not as visible etc...), soaking paper, laying out inking area, wiping down, printing and cleaning up! ( using veg oil is very new to me and requires adjustment timing wise). Oh, how I want more time!!!!
It has been an eye opener, having spent years running a traditional printmaking workshop everything is familiar and yet, different? Learning new methods of applying grounds and how they are removed ( not easily and involves a lot more elbow grease), aquatint - again different, it's an acrylic spray which is fine but takes getting used to ( I knew the traditional resin powder aquatint box so well, how many cranks of the handle for what type of dusting etc..) As already mentioned the acid is the main steep learning curve, with nitric I could read the bite, I could gauge it's effect on the plate without use of a clock - using copper sulphate is very different, the action is much slower and for a really deep bite the plate needs to be upside down due to residue inhibiting the bite. It's been an education. I have not formulated an opinion as yet, it's too early and I remember what it was like when we changed over to water based screen inks, it takes time to adjust.
The upshot of it all is what I thought I would achieve and how much in the time allowed is being reviewed. As previously mentioned the idea is to make imagery that is a response and not to produce ( certainly not at this stage) an edition, all imagery forms part of a documentation - warts and all - I strongly believe that if I am to 'create' then it needs to be an open ended journey, once the barriers are in place then the 'titivating' begins.
I am looking forward to getting back after the imposed christmas break - roll on the 10th Jan 2014!
By default printmaking is time consuming, preparation of plates ( degreasing, grounds), biting in acid (this is very different to nitric - a lot slower, not as visible etc...), soaking paper, laying out inking area, wiping down, printing and cleaning up! ( using veg oil is very new to me and requires adjustment timing wise). Oh, how I want more time!!!!
It has been an eye opener, having spent years running a traditional printmaking workshop everything is familiar and yet, different? Learning new methods of applying grounds and how they are removed ( not easily and involves a lot more elbow grease), aquatint - again different, it's an acrylic spray which is fine but takes getting used to ( I knew the traditional resin powder aquatint box so well, how many cranks of the handle for what type of dusting etc..) As already mentioned the acid is the main steep learning curve, with nitric I could read the bite, I could gauge it's effect on the plate without use of a clock - using copper sulphate is very different, the action is much slower and for a really deep bite the plate needs to be upside down due to residue inhibiting the bite. It's been an education. I have not formulated an opinion as yet, it's too early and I remember what it was like when we changed over to water based screen inks, it takes time to adjust.
The upshot of it all is what I thought I would achieve and how much in the time allowed is being reviewed. As previously mentioned the idea is to make imagery that is a response and not to produce ( certainly not at this stage) an edition, all imagery forms part of a documentation - warts and all - I strongly believe that if I am to 'create' then it needs to be an open ended journey, once the barriers are in place then the 'titivating' begins.
