The Process (in technical Terms):

Dry Point: is when a sharp needle makes lines in a hard surface. The ink is put onto the plate and is forced into the lines. The excess ink is removed from the surface, but the ink remains in the lines. When put through a printing press, the swelled fibres in a pre-soaked piece of paper are pushed into the lines. The ink is then absorbed by the the fibres and a print is made where the lines were etched. This is how an print is made using the medium of drypoint.

The Terms:

Limited Edition: When a restricted number of proofs are issued, it is called a limited edition. Usually the proofs are numbered in pencil like so: 1/50 --> this means that the print is the first one in an edition of 50 prints.

Signed Proof: When proof has a signature (usually in pencil below the bottom edge) it is called a signed proof.

Hatching: This is when lines are made on the plate using a sharp tool.

Cross Hatching: when lines of differing direction (horizontal, vertical, diagonal) are crossed over each other to create a different texture or darker area.

Stippling: This is when dots are used to create texture and tone. The closer the dots are together (the denser they are) the darker the tone will appear, if the dots are spaced apart, the tone will be light.

Etching Needle: A sharp bit of metal protruding from a wooden handle that is used to indent the plate.

The Process and my Thoughts:

First we completed a practise etching, where we simply had to 'trace' over lines that were already provided to us on a sheet. This was useful as it gave us an opportunity to get a feel for the etching needle and the new surface we would be working on. It also gave an opportunity to make mistakes, and figure out strategies that worked for us. We also got to learn and practise the printing process using the new and exciting printing press, so it was a very valuable experience.

We then practised hatching, cross hatching and stippling using a pencil so that we could see how it might work on the actual print, and so that we knew some techniques to give our work VARIETY: which is emphasised as the most important part of our etching; to have a variety of lines will make of break you work.

I remember being told that we have to 'use tone and line to create shape, depth and texture.'

We were given some examples of etchings that showed how detailed could work, but simplicity could also. Some of these example were amazing, absolutely amazing- just the amount of effort that must have gone into them is huge. I felt overwhelmed. But I enjoyed looking at them and seeing the things that ocould be done, and how good it can get.

Then we started to etch.......

TO BE CONTINUED!!

When No One is Looking (2010)

Dry Point Etching

When No One is Looking is a surrealist work that began as a collage from found sources and then became a dry point etching and print. The work is about the occurrences, whether influential or uninfluential, major or minor, real or imaginary, close to our home or in a foreign land, that could be happening in our lives completely unknown to our conscious minds. I have used an uninfluential, minor, imaginary and local occurrence as an example, but I believe that even simple, unrealistic works can give an insight into greater issues and true injustices towards humans and other living beings that are happening under the same, unknown circumstances.

Points to remember:

• the artist's statement is a VITAL SELLING TOOL!
• 100 words
• ecplanation of your style, subjects and/or themes.
• something about your approach or philosophy should be included.
• easy to read
• effective language, not too technicle, not too vague, etc.
• make it informative
• make sure it adds to your understanding of the work
• don't ramble
• make sure your statement is not pretentious and does not annoy the viewer/reader

Think about:

• how you would describe the work to someone who doesn't know you
• what other people have said about your work
• what you are aiming to acheive in your work
• your outlook on life.

Any of these things could be included in your artist statement.

Adapted from 'How to Write an Artist's Statement' issued 10/6/10 to Year Nine Art Students.

I will get back to you once I have composed an appropriate artists statement for my etching When No One is Looking.

This term we have been working on surrealist etchings. I chose my collage 'When No One is Looking' to etch and you can find more information about that in a blogpost below. I have enjoyed etching because I find the medium so imperfect. I like how even if the etching is done in meticulous detail, it will still look imperfect. I find this liberating in a world where colouring inside the lines is often considered 'good' or 'better' than other art.

I think I have done a god job of implying depth. This adds to the work because it makesit more interesting and additionally real. I like my use of variety of line: hatching, cros hatching and stippling. Though there are some areas of the work that I do not think are effective, I like the work, I have worked hard on it, and I have done my best. It was a challenge.