An etching of the view from the balcony in El Poble Sec in Barcelona I'm feeling scattered and at a loss. I have a lot that I could be doing, preparing, working on, reading, and yet I've been sitting at the computer sort of flitting in and out, here and there— utterly unable or unwilling… Continue reading Summer Sunday blues
Here is a scan of an initial proof of my line-etching of the witch-boy. This is the result of scratching my drawing into a waxy coating over the copper plate, called a hard ground. After coating the plate, you can transfer your (reversed) image onto the surface to guide you as you make your lines… Continue reading The Witch-boy: line etch proof
Here is a picture I took with my phone after working the drawing in the hard ground, then immersing the plate for three 'bites' in the acid. This plate will serve as my re-entry to the world and techniques of etching, since it's been over 7 years since I took my first class, so I… Continue reading Second week in the printmaking studio
Here is the cleaned-up inked version of the house. Next is time to trace it and then transfer the revered version of this to the plate, below: Here is the tracing paper after transferring the image. As you can see, I replaced the original trees. I used a white charcoal pencil on the tracing paper to… Continue reading Soon there will be snow in the air and the grey will set in
Tuesday I went to my first class in over 7 years— returning to the art of copperplate etching (intaglio). I've a small plate ready to work on before my next class on Tuesday. This is the wee sketch I did for it today. It needs finessing, and then I'll transfer it in reverse to my… Continue reading Paper-dry leaves crunch beneath our feet, and the wind is picking up
Along A Path, 2011 (intaglio and aquatint) I've just signed up —at long last— for another printmaking class! Difficult to believe it's been seven years since my scholarship to learn copperplate etching (intaglio) at Manhattan Graphics Center, which was my first and only foray into this fantastic ancient method of picture-making. The class begins in… Continue reading A long overdue revisitation
I want so much to write. I’d like to be still for a day or two; to draw. To draw at a rate more like I was in October— daily. Or nearly so. To have space for things to percolate and bubble to the surface from below. Instead, I’ve been kept moving, pulled in multiple… Continue reading A pile of airy bones in an attic room beneath the pitched roof
How horrid I've been with this blog for months! So too with my other web presences. I put my jewelry Etsy shop on vacation over a month ago, and there it has languished; remiss, remiss! But it was a busy and tumultuous springtime, followed by what has thus far been a summer of doing; of… Continue reading absentee bloglord.
Well, I've not posted even the merest speck of art in awhile now, so here is the wee drypoint test I performed during my etching & intaglio class on Tuesday. Let me tell you, drypoint on copper plate is a far cry from same on plexiglass (which I was doing during the fall, for example).… Continue reading tree
Yesterday in the studio I worked a new soft ground, and also decided to try some spit-bite aquatint on an older plate. I'd already editioned this etching (A cottage under snow) in its second state (10 prints), and was feeling adventurous. Not only have I finally got a feel for the process of aquatint, but… Continue reading subtle, but it makes all the difference
e daggar art: THE MUSEUM 