Thursday, 20 September 2018
Tuesday, 18 September 2018
Drawn in the Argos Gallery of Santa Fe:
I experimented with soft ground etching, by drawing on a copper plate that had been coated with black BIG grounds the night before. I then placed a piece of newsprint over the soft grounds, and drew the model.
Beveling the edges at Remarque Print Workshop in Albuquerque,
by pulling the edges of the copper plate,
across ceramic sandpaper,
glued to glass
Applying the BIG grounds
with a brayer
The next morning the grounds were still wet,
so I taped a piece of newsprint on top of the copper plate,
and drew on top of it
I pressed harder to get the darker lines
However, the results were not the same with the BIG grounds
as they were last December
It seemed to only partially take off the grounds,
and took off specks of ground
to the right where I rested my hand...
when large areas should have come off
where I rested my hand
Later I just drew on the plate with a pencil,
which took off the BIG ground,
since the ground was still soft
Conclusion: The BIG grounds did not work as well as the Martin Weber Soft Grounds, which I used in Mary Teichman's etching workshop last December. This may be more my fault rather than the nature of the BIG grounds.
On the other hand, the soft BIG grounds worked nicely when I "drew" on the plate with a pencil (as it took the grounds off, exposing copper lines). Moreover, the BIG grounds hardens, in a plastic box, when left in the New Mexico sun. So I can go back into the image with scribes, using the hard grounds technique, before etching the plate.