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.
With experience copying classical antique sculptures in Florence, Francis Harwood created this exceptional sculpture which combined the elements of classical sculpture with the subject of a more modern (1700s) Black individual – a subject we do not frequently have the privilege of seeing. In fact, this noble bust by Francis Harwood is one of the …
According to her website, Carol Marine was showing in 7 galleries, but still not making a living on her artwork. In addition, since art school she thought paintings had to be big, and that was causing her a lot of misery. After adopting her baby son, she had no time for painting, but when her …
Excerpt from Mitchell Albala’s Book: Simplification and Massing The ability to simplify means to eliminate the unnecessary so that the necessary may speak. – Hans Hoffman At a recent workshop, several students pointed to a cottonwood tree that was gently swaying in the breeze. “How are we going to paint all those leaves?” they asked. …
This is day 6 of our 30 day creative challenge! To learn more about this 30SAL challenge, click here. Take figures from the painting on the left and put them into the room on the right. Feel free to change space in the composition, and alter figures as you prefer. Artwork 1: Mary Magdalene Healing the …
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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Bust of a Man
With experience copying classical antique sculptures in Florence, Francis Harwood created this exceptional sculpture which combined the elements of classical sculpture with the subject of a more modern (1700s) Black individual – a subject we do not frequently have the privilege of seeing. In fact, this noble bust by Francis Harwood is one of the …
Daily Painters: Carol Marine
According to her website, Carol Marine was showing in 7 galleries, but still not making a living on her artwork. In addition, since art school she thought paintings had to be big, and that was causing her a lot of misery. After adopting her baby son, she had no time for painting, but when her …
Mitchell Albala: Simplification and Massing
Excerpt from Mitchell Albala’s Book: Simplification and Massing The ability to simplify means to eliminate the unnecessary so that the necessary may speak. – Hans Hoffman At a recent workshop, several students pointed to a cottonwood tree that was gently swaying in the breeze. “How are we going to paint all those leaves?” they asked. …
Day 6: Altdorfer Harunobu #30SAL
This is day 6 of our 30 day creative challenge! To learn more about this 30SAL challenge, click here. Take figures from the painting on the left and put them into the room on the right. Feel free to change space in the composition, and alter figures as you prefer. Artwork 1: Mary Magdalene Healing the …