Worked on some more plates for the multi-colored, multi-plate prints. This project has proven to be the most rewarding so far, as I’ve been learning so much about etching in the process. 

I took a survey course my last year at MICA that went over intaglio and relief, but I don’t feel like I got a whole lot out of it. I’m not sure why, but etching and I just didn’t click last year. It probably had a lot to do with the fact that I was still developing a working method or perhaps it was just the discomfort of a new process. Either way, we’re getting along now and, studio access pending, should be off to a long and happy relationship. The new series is in a similar vain to the Longitude prints, but the change in process has already yielded some new and exciting results.

The first two proofs were done with soft ground. I applied the ground and used a crumpled up paper towel to expose the copper. It’s a little tricky because it’s hard to tell how much ground you’ve taken off and how much residue is left on the plate. It also seems to take a while in the acid to get some nice solid lines. I’m really happy with how there are turning out though, so it’s not a problem so far. The last proof was a kind of botched attempt at sugar lift. I painted the shape on with the sugar lift, uncertain of what would happen. It turns out, little dots washed away in the water bath, leaving some undesirable polka dots. I etched it anyway and decided that I would just wash off the rest of the sugar lift afterwards to get some more tones. Something went wrong in the process and I lost all the dots. Not a terribly big deal as I think I’ll need more areas of “solid” color. Right now, not so sure sugar lift is going to work for me, but I’m going to keep trying.

It’s been difficult not knowing exactly how to get what I want, but damn it, I love experimenting.