Elaine d'Esterre

Feminist Visual Artist – Paintings, Mixed Media and Etchings


Silver Leaf and Intaglio Experiment

Background

The etchings in the slide show are earlier experimental versions using metal leaf with black etching ink with varying degrees of success.

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In my most recent attempts, this time with silver leaf I also added a red ground because I felt that the silver may be too cool.

Rock Face 1, 2014


Etching and Metallic leaf (update)

In my last blog I described various attempts at tackling copper leaf combined with intaglio.  I thought that the process would be similar to applying chine colle to the image. However it was quite a tricky process handling the elusive leaf and its adherence to the the paper. At first the metallic copper leaf adhered to the zinc plate and so I had to make sure that it stuck and dried to the printmaking paper before printing onto its surface. However a chine colle process would have been successful if the plate was a non – metallic collagraph.

First attempt

Rock Face 1, 2014

Rock Face 1, 2014, intaglio and copper leaf 10×25 cm

Second attempt

Rock Face 1, 2014

Rock Face 1, 2014, intaglio and copper leaf 10×25 cm

The etched section of the second image was a ghost print.

First attempt

Etching with copper leaf proof

Second attempt

Rock Face 2, 2014, intaglio and copper leaf

Rock Face 2, 2014, intaglio and copper leaf 10×25 cm

The third image began as a mis-print because I had misjudged the register. I masked out most of the image and printed in the top right hand corner.

First attempt

Etching and copper leaf  proof

Second attempt

Rock Face 3, 2014, 10 x25 cm, intaglio and chine colle by Elaine d'Esterre

Rock Face 3, 2014, intaglio and chine colle 10×25 cm

l ‘m not to sure about the last image but I was surprised at how the combination of etching and copper leaf produced an antique look that reminded me of maps from the sixteenth century, as though the shapes resembled fragments of lost continents.  All the imperfections; torn edges, edges over lapping the plate embossed edge, decal and excess ink bleeding outside its boundary could have resembled an old parchment that may have been in an attic for a few centuries.


Etching on Copperplate

Last stage of an edition of 12

 

The light grey tone was the first, red second placed and registered over the grey and then the black area was printed last. I hadn’t done a drypoint using rollers and roulettes to get tonal areas as opposed to aquatint and etching with acid combined with masking out different areas of the composition. The result, which I’m still adjusting to, is more graphic than my usually painterly look especially without any chine-colle application.

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