Sketch, Fine Art by Julianne Ricksecker

Posted 11 years ago by Julianne

Last time I wrote about preparing a zinc plate to begin the etching process – the work that needs to happen before image making even begins.

Grounded plate — Plate covered with ground

Today I’ll show how an image is etched into the plate. Since the etching literally occurs by soaking the metal plate in nitric acid (hence the term “etching’), the first order of business is to protect the plate from the acid. As my resist, I use a liquid ground made of asphaltum and wax, which dries hard and smooth.

Preliminary Sketch of MacKerricher Beach

Transferred Sketch — Sketch transferred to grounded plate

I usually work out the composition in sketches first, and may make a full size drawing. The basic outlines of the drawing can be transferred to the plate using a transfer paper, similar to a dressmaker’s carbon.

The line drawing is done with a needle, scraping through the ground with the fine point. The idea is only to expose the metal plate to the acid, not to scratch the plate.

Developing drawing with cross hatched lines

Whether using a transferred outline, or drawing freehand, the needle is used to draw lines and to create shaded areas using cross-hatched lines. The drawing is sensitive and delicate, using the transfer drawing as a general guide only

Soaking in nitric acid — The first etch: soaking line drawing in nitric acid

When the drawing is satisfactory, the plate is soaked in nitric acid for 10 – 40 minutes, depending on the strength of the acid and how deep I desire the etched lines to be.

When the etching is complete, I clean the ground from the plate, and print a proof to check the etch so far.

I scrape ink over the plate, forcing the ink into the incised lines. Then I use rags to wipe ink from the surface of the plate until all the un-etched surfaces are clean.

Next I place the inked plate on the bed of the etching press. Damp paper is placed on the plate, and several layers of felt are laid down on top of the paper. This sandwich is rolled through the press, which has rollers above and below the press bed, squeezing the fibers of the paper into the incised lines on the plate.

Printed image and inked plate on press bed

When the paper is lifted from the plate, the image has been transferred to the paper. Note that the printed image is the reverse of the drawing. When designing an image of a well known landmark, I reverse the drawing so that the final image will be familiar to the viewer.

Next time, I will show how tones can be etched into the plate. I’ll add a cloudy sky, surf, and sand to the image.

Sketchbook Lost

Posted 13 years ago by Julianne

Cactus skeleton sketch — Sketch from hike in Anza Borrego

For many years, I had a sketchbook with me all of the time. If I had a moment, I was sketching. Taking visual notes of anything and everything. Laundry baskets. Children sleeping on the floor at a folk festival. People in a meeting. House plants. People in restaurants. The puppy. The dog. The dog and the kids. The tree in the back yard. The mailbox across the street from the flute teacher’s house. Animals in the zoo.

Coyote Canyon, etching, black and white proof

Coyote Canyon, etching by Julianne Ricksecker — Coyote Canyon, etching by Julianne Rickseck

Many of these sketches have found their way into pieces of art over the years, either as the whole subject, or as a snippet incorporated into a larger image.

Sketchbooks also serve as a place to make verbal notes – thoughts on my first view of Grand Canyon. Notes about colors or atmospheric impression of a place. Ideas for new work or a new way to use techniques. These notes are relatively few as this book is not intended to be a written journal, but they sometimes capture something about the inspiration for a new piece.

When I went to work full-time in alternate career, I stopped carrying a sketchbook everywhere with me – it wasn’t appropriate. While I continued to make art on the weekends, gradually, I found I only carried a sketchbook on vacations, or on special occasions, like on a hike in the mountains. I still referred back to old sketchbooks regularly when working in the studio, but it was no longer a daily habit to carry it around, open it up, and draw. Whereas I used to fill up several sketchbooks a year, I was now carrying the same book for years on end.

Last summer, during a trip to the East Coast, I remember using my sketchbook on the plane and tucking it into the seat pocket. After returning home, a few weeks went by before I looked for it and I could not find it anywhere. I have never lost a sketchbook before! I did an exhaustive search over a two-week period without success. I could not remember seeing it after that plane ride. I felt like I had lost a friend. I finally reported it lost to the airline, but by this time, I didn’t have much hope. I resigned myself to the loss and put my contact information in the front of a brand new sketchbook.

Imagine my joy when it turned up unexpectedly last week! It was here all along, inside a re-usable shopping bag in the garage. Welcome back.