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A Prelude to Printmaking – Part 1: Etching

I’ve never really paid much attention to prints, and still less black and white prints which, in a gallery full of paintings never seemed to capture my attention. All of this began to change around last summertime. The first trigger was the Royal Academy’s annual Summer Exhibition where, amongst the numerous galleries full of paintings of often rather questionable quality, I found myself inexorably drawn to the print gallery, a room packed to the rafters with prints of every conceivable style, technique and colour (and in fact bought two!).

Lucian Freud, Man Posing (1985)

Lucian Freud, Man Posing (1985)

The second trigger came on a visit to the Courtauld Gallery at London’s Somerset House, where a newly acquired collection of Lucian Freud etchings had been hung. I was completely entranced by these works, which, in their monotone black and white seemed to shift focus from what is usually Freud’s fleshy textured paintwork to the almost visceral, fervid lines and cross hatchings by which Freud had reimagined many of his painted portraits in this new medium. In particular I adored Freud’s etching Man Posing (1985) in which the use of etching as a medium seemed to me so artfully applied to capture every hair, muscle and contour of the figure’s naked body.

Completely captivated, I went home and that very evening researched the internet for tips on how to etch. I very soon realised that unlike painting, etching would not be so easy to self-teach, and promptly enrolled myself for a printmaking course at the Art Academy in London Bridge (there being no introductory course dealing exclusively with etching).

Having now done this short weekend course, I can unconditionally say that I am hooked on printmaking, and on etching in particular. On the course we undertook two techniques – one was relief work (we used lino cutting – which I’ll tell you all about in Part 2 of this post); the other was the much anticipated etching technique, something which I found every bit as enjoyable to execute as I had taken delight in looking at Freud’s finished prints.

Another favourite etching - Edward Hopper, Night Shadows (1921)

Another favourite etching – Edward Hopper, Night Shadows (1921)

The process of etching is surprisingly fiddly. Of a whole day’s work in the studio, I probably spent a maximum of around 45 minutes actually drawing out my image onto plate – the remainder of the time was engaged in preparation and printing. Etching uses metal (we used zinc) and an image is etched into the plate using acid. That plate is then plied with ink and used to print an edition. So how does it all work? Well basically, once you’ve got yourself a metal plate (and carefully degreased it), you apply a dark “ground”. This is the layer which protects the metal when it is placed in acid. Once applied, you use a needle to draw your image. It is this process which reveals the metal underneath which will then be “etched” into the metal once acid is applied. So the process of drawing into the ground is a somewhat perplexing one – not only do you have to plan the image in reverse, but you’re also working in the colour negative, cross-hatching into metal to create shadows on your print, when what you end up drawing appears to be light on dark.

Anyway, I’m getting a little techy and I’m sure what you actually want to see is the result. And here it is: Sailor Norm on a beach in Mallorca (holding a fish). I probably ought to think of a better title, so any suggestions are welcome.

Here’s the metal plate with the image etched into it.

DSC07310

Then below, you can see what it looks like once printed: a series of prints which shows me experimenting with ink removal. In the first, I removed all the ink off the plate apart from the application of ink to the narrow etched lines. In the second, I left a little ink on the plate to create a moodier effect, and for the third and fourth left more and more, specifically targeting certain areas where I wanted more shadow. My favourite is probably the second or third. What do you think?

Sailor Norm on a beach in Mallorca (holding a fish) - print 1

Sailor Norm on a beach in Mallorca (holding a fish) – print 1

Sailor Norm on a beach in Mallorca (holding a fish) - print 2

Sailor Norm on a beach in Mallorca (holding a fish) – print 2

Sailor Norm on a beach in Mallorca (holding a fish) - print 3

Sailor Norm on a beach in Mallorca (holding a fish) – print 3

Sailor Norm on a beach in Mallorca (holding a fish) - print 4

Sailor Norm on a beach in Mallorca (holding a fish) – print 4

So that’s my first etching done, and with an intermediate course now booked, I cannot wait to create more and explore this new medium further. The etching is truly my oyster…

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2013. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content.

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8 Comments Post a comment
  1. Printing has got to be one of my favorite things to do in the whole world. And funnily enough, I got inspired by the Freud etchings at the Courtauld when I started as well. Thanks for this lovely post and I am sure your relationship with prints will only grow into an even greater love :).

    April 27, 2013
    • Hey thanks! Just had a look at your blog – great to see you’re printmaking too 🙂 I love it – went to the printmaking fair on today at the Royal Academy – if you haven’t been and are still in London, go!

      April 27, 2013
      • I went yesterday as well!! It was fantastic, wasn’t it! My school ‘City and Guilds of London Art School’ had a stand there. I don’t know if you noticed them but they had some great works from fellow students and my tutors.

        April 28, 2013
      • Brilliant show! It was so huge! I’m not sure which stall was the City and Guilds school – which gallery was it in? There was so much there I stopped noticing who was who! It was a great show though 🙂 Was your work there?

        April 28, 2013
  2. They took 3rd year students and tutors, so unfortunately my work was not there. The stall was towards the end, last room. Mostly black and white prints. I understand what you mean, I felt like I was on a print overload afterwards 🙂

    April 29, 2013

Trackbacks & Pingbacks

  1. Printmaking Progress I | The Daily Norm
  2. Printmaking Progress II: Aquatinting | The Daily Norm
  3. Printmaking Progress III – Editioning El Marinero | The Daily Norm

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