Nikki and I met at the studio for a fast test run. She got to try out her lesson plan, and I got to try the process. To my delight, vitreography was fast, non-toxic, and easy to learn! I don’t mean “easy” in the way that my first print was a masterpiece, but vitreography was far more beginner friendly for me than drypoint, woodcuts, and traditional etching. It was easier to see what I was doing, and since I was able to apply the etching paste with a soft brush, I felt more comfortable with the types of marks I was able to make.
The first test plate: the dremel tool
It was easy to make marks in my thick glass plate using a diamond tipped scribe, and a dremel tool. For the dremel, Nikki had me submerge the plate in water so I didn’t send glass dust into the air. I made a few random experimental marks with the dremel, just to see what stuff would like like.
[caption id=”attachment_13939″ align=”aligncenter” width=”600 Wet plate from water bath, after dremel marks
etching paste applied to some areas
After being so worried I wouldn’t wait long enough for the paste to etch the glass, turns out I waited too long. It only needed 2 minutes!
[caption id=”attachment_13944″ align=”aligncenter” width=”600 First etching print experiment, with cheap paper
The first print ended up being too dark, but I liked the stippled grey and felt confident I could make a better plate without much effort. I loved the brush strokes on the vase.
[image_with_animation image_url=”7520″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] Pictured above: Lagos Elephant House, Nigeria Draw, paint, or collage the view outside your window. Replace the buildings with animals. Option for collaboration: one …
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Vitreography test prints
Nikki and I met at the studio for a fast test run. She got to try out her lesson plan, and I got to try the process. To my delight, vitreography was fast, non-toxic, and easy to learn! I don’t mean “easy” in the way that my first print was a masterpiece, but vitreography was far more beginner friendly for me than drypoint, woodcuts, and traditional etching. It was easier to see what I was doing, and since I was able to apply the etching paste with a soft brush, I felt more comfortable with the types of marks I was able to make.
The first test plate: the dremel tool
It was easy to make marks in my thick glass plate using a diamond tipped scribe, and a dremel tool. For the dremel, Nikki had me submerge the plate in water so I didn’t send glass dust into the air. I made a few random experimental marks with the dremel, just to see what stuff would like like.
[caption id=”attachment_13939″ align=”aligncenter” width=”600
Wet plate from water bath, after dremel marks
etching paste applied to some areas
After being so worried I wouldn’t wait long enough for the paste to etch the glass, turns out I waited too long. It only needed 2 minutes!
[caption id=”attachment_13944″ align=”aligncenter” width=”600
First etching print experiment, with cheap paper
The first print ended up being too dark, but I liked the stippled grey and felt confident I could make a better plate without much effort. I loved the brush strokes on the vase.
Etching ghost print, with tiny areas of drypoint
I’m going to like Vitreography. We start Tuesday!
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