SWLA Drypoint Workshop – 8 November 2016
For anyone interested in the Drypoint workshop, here’s a little background to methods and materials involved. But please ask any questions through contact page at www.brucepearson.net.
As a printmaking process, drypoint is rather like using a pen without the ink – literally, drawing with a dry point – to create an impression that, when inked, can be printed from again and again. It is like etching without the acid, or engraving with an etching needle.Drypoint is a intaglio printmaking technique (as opposed to relief printmaking) in which an image is incised into a plate, or matrix, with a hard-pointed steel “needle” but any sharp object can theoretically be used — nails, metal files and even diamond tipped cutting tools! We shall be using all of those — except the diamonds!
Traditionally, copper plates were used for drypoint which allowed a burr to remain along the line edge with the characteristics of the burr and how it holds the ink giving a drypoint print its soft, feathery distinctiveness. However, copper as the matrix is now largely replaced by acetate, zinc, plexiglas or polycarbonate as they are less costly and more readily available. We will be using 1mm polycarbonate as it can be cut easily, shaped with scissors, and is easily handled and wiped of ink.
Although polycarbonate throws up a burr it very quickly crumbles so it is the directly scratched lines which catch the ink — perhaps more like an engraving or etching than true drypoint. As well as working with line we will also be using carborundum grit as a way of building tone, depth and texture by mixing different grades (coarse, medium & fine) with an adhesive and painting directly onto the plate. Another way we’ll be creating tone and texture will be rubbing with sandpapers, wire wool and nail files.
Looking forward to seeing you there!