The umber plate is comprised of plant matter I gathered in my garden. I love how soft ground picks up the finest detail. The black plate has some soft ground but was mostly created using various depths of aquatint. My background is science and I’m continually thrilled with what I see around me.
There are so many colors and textures beneath the waves. Planning this I walked along the beach, went to the aquarium and of course perused the library. After all that I still spent several days moving my sketched objects around the plate. Two plates were used. The upper green formation is a kale leaf and the bottom is a type of moss.
Two plates were used to create this print.
This etching is a chine colle. I etched the woman’s outline on the plate and then lost my direction, so I put it away for a couple years. Eventually I put the tree in and then to balance it I added the tattoos. I spent a lot of time trying to balance this piece – I learned that it pays to plan a little more.
This etching was an experiment. I used the back of a copper sheet found in the recycle. It was deeply etched where the acid had eaten around the masking tape used to protect the back. I just kept adding lines to the plate until I decided I had better quit. I added the embossing because it fit in a frame better. This was my first embossing experience – but you will see more of it in my later prints.
This is one of my first etchings – before I was totally humbled by the process. I created this in honor of my good friend, Nicola Griffith, author of Ammonite.
This is an etching of my granddaughter sliding her mask on in preparation to playing her violin at a farmer’s market. This is an early print, so it contains many firsts for me.
