Toni Hartill Art: Getting to grips with Copper Sulphate Etching

"Agathis Australis" by Toni Hartill

Well, isn't 2020 evolving as the strangest year yet! Who would've thought?!

As I returned to my studio in early February, post-festive season and summer hols, I was focused on getting to grips with the process of etching aluminium with copper sulphate. In late November last year I had done a wonderful 2 day workshop with Kathy Boyle and a small group of fellow printmakers in which we were introduced to some of the many possibilities of the process. This was just the ticket to whet my appetite and induce me to dedicate time to fully explore the process to decide if I wanted to include it as one of "my techniques".

Short answer: a resounding yes!

I had meant to blog about my discoveries to share my enjoyment and excitement of what I've been learning but the last few weeks have been... well... unsettling to say the least! For everyone I imagine.

Back in February the Coronavirus pandemic was only just emerging as a threat in China, and we began to wonder if our planned trip to Japan in April might be such a good idea. By mid March our trip was well and truly scrapped when flights began to be cancelled and borders closed. While most of the world is now in some form of "lockdown" we're approaching 4 weeks in "full lockdown" at Level 4, here in NZ. We can only go out if we are an "essential worker", to exercise or to shop for essentials. Otherwise we have to stay home in our "bubbles". "Stay Home, Save Lives."

In a week's time we will move to Level 3. Life will be pretty much more of the same for most of us for at least another couple of weeks although many businesses can return as long as they are "contactless". We are all keeping our fingers crossed that we are well on the way to eliminating Covid-19 here in Aotearoa.

And I am running out of art supplies!

Having a clear focus of learning new skills has been a great distraction from reality. I've had fits and starts of productivity but with galleries, and almost everything, closing til further notice the pressure to keep working towards deadlines has eased considerably, so I have allowed my mood to dictate my next move. (Now in late April however I am actually trying to generate new work for a group exhibition booked for June, unsure as yet as to whether it will actually go ahead - and I am running out of art supplies! Did I mention that?!)

First Batch of Plates

Back to early Feb and my first dabbles with the aluminium etching process: The only etching I have ever done was with zinc and nitric acid when I was at high school and again in my first year at art school - so not a lot and not for a long time. Perhaps this is a good thing as I can't compare "real etching" to a more non-toxic approach. I figure I also don't know enough to have preconceived ideas about what might not be possible so perhaps I am blissfully unaware of the pitfalls? I've worked in batches of a few plates at a time, each time getting more adventurous and experimental with my approach, building on what seems to have worked well. I've also been working with a pre-planned theme which I am currently exploring. (That's for another blog though, perhaps.)

Generating Ideas with Watercolour Sketches

Toni Hartill

For this first batch of plates I kept the ideas simple

and didn't try to incorporate too many different processes.

Plate preparation

I found an ready supply of 1.5mm aluminium sheeting at a local hardware store cut to various sizes. This thickness is sturdy enough to etch deeply yet thin enough to cut with scissors to shape the curves. Next came a lot of elbow grease to sand and polish the surfaces.

Toni Hartill

Etching the plates

First, the line-work.

Toni Hartill

Experimenting with coffee grounds for random textures.

Toni Hartill

First test prints

These first test prints showed potential but clearly I could be a lot braver with the depth of etching especially to get some really deep tones.

Toni Hartill

More Etching

Adding tone and textures to the backgrounds.

Toni Hartill

Completed Plates

The etched aluminium plates are beautiful just as they are!

(I'm contemplating a project where the plates ARE the artwork...hmmm.)

Toni Hartill

Test Prints

I have little experience with intaglio printing so getting the hang of inking up was a steep learning curve too. I began using oil-based inks (thinking this was the "better" option although not my usual ink) but struggled to get a print I was happy with and the wiping felt painfully laboured. Not a good sign! I switched to my preferred water-based inks, Charbonnel Aquawash, and quickly found my groove and began to have some much better results.

Toni Hartill

I was really pleased and excited by the range of markmaking

and depth of tones these early prints displayed.

Toni Hartill

Toni Hartill

Toni Hartill

Toni Hartill

Vital step: recording what I did,

what worked and, most importantly, what didn't!

Toni Hartill

Editioning & Embellishing

Happy with these early plates I took the opportunity to edition them and then to submit a selection of prints to the new round of 2020 PCANZ Small Print traveling exhibitions (on hold at the time of writing til further notice due to Covid-19.) I went on to embellish each of these editions with gold leaf, gold paint or handcolouring.

Toni Hartill

Onwards: Another plate

Buoyed by the success of these first prints I began work on another prepared plate, this time wanting to include more detail and to be more deliberate in the use of shading and added texture.

Toni Hartill

Again I was pretty pleased with the results of this plate.
The test print again inked up really well.

I have plans for the prints of this plate

but I am yet to edition it.

Did I mention I am running out out art supplies - namely ink!!

Art shops weren't initially open in lockdown although we can now buy some things online...

supposing they are in stock.

By this point, dwindling ink supplies aside,
I would say I am now fairly hooked on this process. It is such a different way of working, as compared to linocuts, requiring a complete brain rewire (for me!) to think in terms of intaglio markmaking. I love the immediacy this process is allowing in my work and the opportunity for more of the unexpected and experimental marks to emerge. Happy accidents! The excitement of the "reveal" at the press is the best! Everytime!

Toni Hartill

I have gone on to create another 3 plates, each one getting more detailed and ambitious in my markmaking attempts. I will share these images with you in my next post shortly.

Thanks for visiting!
Stay well and safe!

Arohanui

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Tuesday, 21 April 2020