Cathedral of St John the Baptist

Continuing on last week's theme— images from Savannah. Here are two scans of a copper plate etching in progress. Above shows the first pull of phase two, after adding some tones with aquatint. This is a miniature print (3"x3"). The next phase will involve some burnishing of the plate to create more variations in the… Continue reading Cathedral of St John the Baptist

absentee bloglord.

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

subtle, but it makes all the difference

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

‘A commitment of full attention’

I have been checking out some of the 3-minute egg talks on the Magical Secrets printmaking web site. There's one called "Taking Time" (it's in two parts), and it makes a really important yet easily forgotten or overlooked point. To paraphrase: The amount of time actually spent making a work of art isn’t so important;… Continue reading ‘A commitment of full attention’

Another soft ground etching started- stunted.

Last night in class I decided to work on another soft ground etching. After pulling the proofs last week, I realized this medium is exactly what I was looking for in 2010 when working on all those pencil drawings, and wanting a way to create multiples of them (not giclée). This is perfect, as it… Continue reading Another soft ground etching started- stunted.

April begins in the etching studio

"Bywater umbrella"*, soft ground etching. click to see large "Along a path", line etching and aquatint. click to see large. I went in to the studio yesterday afternoon for about five hours or so. Pure joy. Worked the two plates above, which have been in progress (and already documented here, so I won't go into… Continue reading April begins in the etching studio

An undertow and soft ground

The drawing on paper for a soft ground etching; it's Ben in New Orleans. I'm having trouble escaping my dreams. It's as if all the unremembered or missed visitations are making up for lost time these days, arriving one upon the other, ceaselessly. It's a haunting, an undertow from which I feel I can barely… Continue reading An undertow and soft ground

New line etching in progress

the copper plate, in process of being scribed (hard ground applied) digital proof made by scanning, inversing and adjusting contrast of copper plate An eight hour day in the home studio, spent scribing the hard ground. Below are more scans in-progress; this is how I get an idea of what the line work I've done… Continue reading New line etching in progress

Line etching with spit-bite

Proofs of the two portraits, line-etched only. (Lady looks to have a mustache– must burnish those lines down!) Yes, you read that correctly: spit-bite. Contrary to what Wiki says, we are learning the old-school method, so it is what it sounds like–  a way of "biting" the plate with acid that involves actual salivary effluvium–… Continue reading Line etching with spit-bite