Pilous 5 x 1.75 Soft Ground Intaglio Etching with watercolor
Available on Etsy.
I made the plate for this etching a few years ago in Jim Lorigan’s Intaglio Printmaking class at College of the Canyons in Valencia California. I’ve always wanted to learn about etching, and this process – soft ground – was fascinating to me, because of the light, peppered, pencil-like tone you can get in the line work. I’ve covered that up here with watercolor, but as it was the first soft ground print I’d ever done, I felt more excited about what I *could* do with future soft ground prints, after a little practice. Access to the acid, ventilation and all the supplies is a bit challenging, but I am currently exploring less toxic methods of achieving the same results, now that I understand the general principles of the process. If I find something that works, I’ll be sure to share it on this blog.
This is the plate Pilous was printed from – it was originally a scrap piece of zinc under the metal cutter in the Print lab. I beveled the edges with a rasp, and various files, and polished the surface of the plate with finer and finer sandpaper till I was using a grit paste at the end to make an almost mirror shine. The reasons for this are two-fold: 1) a beveled plate won’t cut your paper when it’s going through enormous pressure from an etching press (and it leaves a lovely plate impression in the paper), and 2) the surface of both the bevel, and the plate itself should be so smooth that ink doesn’t stick to it. There are more details about etching online, and in one of my previous posts, I describe a hard ground etching, if you’re curious.
Pilous was sitting in my print bin, so I started painting her with watercolor this week, and finished this morning. She reminds me of some of the beautiful old photos I have of my grandmother in the mid 1920’s. *Love them!*
An Architect without a very refined knowledge of drawing, must be classed among the handicraft occupations of stonemason and bricklayer; for architecture is nothing more than drawing or design made manifest in some kind of building materials, added to a practical knowledge of the materials employed.
In the splendid ruins of ancient temples, and the more perfect remains of gothic structure yet existing, there are abundant and intrinsic evidences of the draughtsman and builder being one person. The perfect unity of design and execution which pervades these remains, is alone sufficient to prove it; and it must be regretted, for the sake of architecture, that at the present day the draughtsman and builder are so frequently separate persons, as the odium, should there be cause for any, is too easily shifted from one to another, and the merit, when it exists, is either too much divided to possess any real value, or perhaps absorbed by the one least entitled to it.
Painting is the least generally understood of all the arts and sciences, and the reasons are obvious. The first arises out of the absence of a well regulated instruction in those places where instruction in all liberal knowledge ought to abound; where in every other department of knowledge it is most abundant; and where, if the proper study of painting or designing could be added, some students, by it, might be induced to think, when all other branches of learning, human and divine, had been tried in vain, and thus occupy some of those hours devoted by many to pursuits of a much less meritorious description.
The exquisite charms of poetry and music render them worthy of all the honours they receive in our universities; and were painting as generally understood, it would be equally favoured, for it has also its peculiar uses and charms. Its pleasures are conveyed to the mind through the sight a sense that affords to us the purest and least alloyed of all our enjoyments; and most are aware, that knowledge acquired by vision is more perfect, and more lasting, than any which is acquired by the other senses.
~On the Theory of Painting, Theodore Henry Fielding, 1836