Collaborating with Wayne Clarke Head of Ceramics Glyndwr University in examining the use of electrolysis in making and decorating ceramic art.
Picture from Frances of the second piece of hers that we plated on Friday 11th.
Electro-forming some sculptures made by Frances Carlile from blackthorn branches.
Photograph shows one of Frances’s pieces ‘Breakwater’ standing on a piece of mine entitled ‘Tide’ Really fun creative day.
Electro-etching with Andrew Baldwin and Don Braisby
An integrated safer & less toxic approach to etching
31 May & 1 June 2018
This workshop will demonstrate the mark making potential of combining the use of electro-etching and the safer etching processes and techniques developed and taught by Andrew Baldwin. Electro-etching provides a safe, cost effective and creative replacement for acid etching and its alternatives. The combination of the safer etching techniques and electro-etching makes it possible to etch in an open studio and to teach etching in the classroom.
This is a practical hands-on workshop
- Provide a simple introduction to the theory and practice of electro-etching and safer etching.
- Introduce the equipment needed for electro-etching and plating, how to set it up and use it safely.
- Creative plate making using safer methods and processes to; lay grounds, aquatint plates, spit bite and sugar lift.
- Proofing and printing plates in two colours.
- Introduced participants to electroforming and electrotyping as a potential process in printmaking, jewellery and sculpture.
- Participants will have gained a working knowledge of electro-etching and the use of safer etching processes and techniques to use in their print making practice.
- Provide feedback for post-doctoral research.
Non-members £140.00/Members £90.00
Booking essential (via email or telephone)
This is one of the first prints off the stereotyped plate from earlier entries in my research blog. The plate was inked up using Hayter’s viscosity method, the second colour being silver, the first being cadmium yellow deep hue . The plate is very heavily embossed, it has been through the press about twenty times and is holding out well and will certainly be good for a large edition if it was required.
The final plate has 88g of deposited copper. It will require levelling off on the underside with fibre glass filler or a low temperature metal such as pewter. Three possibilities for inking up stand out, either viscosity printing, Andrew Baldwin’s double drop technique, or as a collagraph ‘a la poupee’ .
Over the last twelve hours a total of 37g has been deposited on the mandrel. The pure copper has a magical colour and to my eye it is an object of beauty in itself.
I have used the stereotype process in the past to copy etching plates, this is the first time I have used it to make a plate with the intention of printing from it. This is the back of the plate that will need to be packed to prevent the soft copper from collapsing when it passes through the press. The plan is to continue the plating process for twelve to twenty-four hours.
Graphite covered latex mandrel ready for copper plating.
The plate will measure 25cm x 16cm. This is the first of a planned series ten plates based on walks.