Etching is an 'Intaglio' process, whereby prints are created by an image being "etched" or "bitten" below the surface of the material (copper,zinc or iron plates) that the artist is working on. Prints of the etched image are then produced by filling the detail of the image with ink and pressing it against a soft material such as paper. It is considered to be one of the most versatile of all the graphic media due to the endless effects it allows a skilled artist to achieve.
The origins of etching stretch back over many centuries to the time when metal workers first learned to engrave fine lines into metal objects for decorative purposes. There is evidence that some of these early engravers were producing images of their work by 'blacking' their lines with soot and pressing absorbent media against the engraved metal even before the advent of paper.
Etching truly came to the fore during the seventeenth century as craftsmen became able to use acid to bite their lines into metal. This allowed far more subtle effects to be created and reduced the physical exertion needed to engrave a design. Subsequent generations of artist/etchers have continued to enrich the styles and techniques of the art form through the years.
David's etchings are produced using traditional methods which have remained unchanged in hundreds of years , requiring skill and attention to detail. Prints produced in this way are true original works of art and should never be confused with the so-called "prints" produced using modern photomechanical reproduction methods (i.e Photocopies. Giclees etc...)
At this point.... if you have come to this page to find out about etching techniques .... I suggest you scroll down a few feet as I am about to give a well deserved lengthy blasting on the malpractices of the giclee inkjet reproduction con-artists.
David is personally appalled by the constant misuse of the term "Print" and always confronts the fraudulent use of the term..
In this region of Wales and no doubt throughout the world, there are a number of "alleged" artists passing off colour photocopies and computor inkjet copies of their paintings and drawings etc...as "prints" .
The key word that should precede the use of the word "print" by these deceitful clowns, without exception.... is "Reproduction". This tells the buyer who has even the scantiest of understanding that what they are about to consider buying is not an original print but a mechanical "copy" of an original work. They deceive by deliberately ommitting this simple word and NOT by accident.
David just loves to embarass them at every opportunity by pointing out their dishonest actions by asking the simple question. "If this is a photocopy or a computor generated reproduction of an original piece of your work. Then Why!... Oh Why.... do you not inform the public of its true nature of production?".
Why use vague terms such as "Mixed Media Print", "Watercolour Print" "Laser Print" or just "Print" etc... ( These are often a photocopy or photo-reproduction of a work. More often, because the original artwork won't fit on the copier bed, it is an enlarged photocopy of a photograph of the painting !... or it used to be... the digital camera has replaced this process)
"Etching " "Drypoint Engraving" "Engraving" "Woodcut" "Screenprint" "Linocut" etc... describe the nature of their production.
A photocopy is a photocopy !. There is absolutely NO EXCUSE you can possibly give to justify deliberately avoiding telling your customers the truth!.
Those who stringently avoid telling the public and employ any description rather than disclosing that simple fact, cannot avoid being rightly accused of deceit and dishonesty !
Giclees. Now this just has to be one of the biggest SCAMS of all time! Many of the practitioners of this scam are no better than those selling photocopies.
With all due respect to those who may call themselves artists, who create completely new images using the various computer programmes that they purchase off of the shop shelf.
Mind you. I consider phrases like "digitially remastered" to be somewhat arrogant.
Oh Yeah? So you selected the option in Coral 8, or whatever... and clicked the button to instantly transform the image into something else. Gosh! sooooo much effort and skill. You truly are "Masters", though "what of" leaves me somewhat spoilt for choice as to what words to use. None of them are complimentary that is for sure. .
The computor is doing the work. You are just choosing predetermined options. "Oh, the computer is just an tool like any other media." they bleat. Other than wiping the sweat off of the mouse and picking the greasy fluff out of it (Where does that come from??) How much effort have you made? Really?
I read a Canadian article comparing the use of the computer to a genuine art process, by saying that the mouse was the stylus or brush : the screen was the canvas and the programme was the palette of colours. Laugh? I thought my trousers would never dry.
Oh ...and by the way... To those who arrogantly assume I don't know about computers and I am some kind of "Luddite". They bleat on about how difficult the usage of computer image manipulation programmes are... Who do you think created and updates this website? and while we are at it..... those "complex" computer programmes....bet you somewhere in the accompanying literature to said programmes is the phrase "Designed for ease of use."
Do you honestly believe of the tens of thousands of people who probably have that same programme ... you are the only one who became competant at using it.... ? If I have any problems I consult my kids! My son from the age of six years old has taught me many of the tricks I know to image digital manipulation on the 5 image programmes installed currently on my PC.
The VAST MAJORITY of users of this term are simply selling inkjet REPRODUCTION COPIES of their paintings, drawings etc... The term Giclee enables the con artists to hide their dubious practises behind a name that bogusly creates (or so they hope ! ) an idea of it being an "established" original printmaking process. Anyone wanting to see my etching process can come to the studio and see the time, skill and effort involved.
Could you do the same with a Giclee seller? ..... I could just imagine the scene..... "Pull up a chair Sonny and sit next to me at my computer and I'll show you my "skills" . Or "Just pop along with me to my local company and watch me hand over a digital photograph, floppy disc, CD Rom and you can marvel and gasp at my creativity as you hear me say ...."I'll have 500 of that one and oh, another 50 of that one and chuck me in another 15 of the other one". Very impressive.
Worst still ..are those grubby little individuals who simply bang them out at home on their Epsoms and suchlike... yet make ALL the claims to quality that professional Giclee manufacturers make (No honour amongst thieves.. so they say Eh?). Ebay is absolutely riddled with these sad little hacks! A good clue to identify them is the size... usually A4.
It is interesting and gratifying to note that they have in some instances started out at £70 or so and they don't sell . A few weeks later they are up for sale again this time at £39.99... still don't sell . Currently one seller from whom I am quoting these prices now has her giclees at £14.99. They still are not selling! What next £4.99 ???.
Yep! They are now £4.99 and still not selling.... Words cannot express how unbelievably smug I am feeling right now. "Hugging myself with glee." comes pretty close to it though.
They are even being banged out printed on T-shirts...can't wait for the Tea Towels.
Possibly her sales pitch "They are also limited and restricted in number to the quantity ordered and by excessive production time incurred using the Giclee process." is correctly interpreted as really saying "I'll bang out and flog as many as you soft mugs are willing to buy...... so my use of the words "limited " and "restricted" are utterly meaningless" As for "excessive production time etc...." You just click the mouse with the cursor on the button labelled "O.K "
These clowns are not printmakers they are REPRODUCTION MERCHANTS but they, they being the "con artists" they are, having them made, and of course let's not exclude the manufacturers of the equipment, inks,papers, etc.... (billion plus pound industry I should imagine) and those businesses selling the service..will do everything they can to keep up the pretense and deception....."God Forbid!" they should own up and say, "Yes it is machine manufactured " or demand that their customers tell their potential buyers.
By the way... What does "archival" mean? It's often applied to describe the inks used. I know what it implies as a word and what it conjures up in the mind of the listener or reader... reassurance-wise. But is it justifiable to use it in this case? Another example of the Ad-Man's spin Methinks?.
Back to the plot.......
If challenged on their perpetuation of this deceit by knowledgable print collectors or makers, you should hear them waffle on. Excuses and Bullshit Galore. The so-called artists are the worst, claiming that they have a right to earn an income and often that they are just doing it temporarily .
"Temporarily" ???. Oh Yes!?...... Greed and the prospect of "easy money" motivates them and suddenly they are going to, at an some time in the future, start being honest with people?.
What about the poor suckers whose money they took.? What happens to them when in the future they need to, or choose to sell the piece on to find that their "quality investment" which is what they were led to believe they were buying as well ,thanks to the bogus assurances (commented on below) , are worthless.?
This has already happened. I know of instances where hasty backdoor refunds have had to quietly be made by these sellers. The prospect of that knock on the door with an angry customer brandishing the item demanding their money back is one I positively relish.
One recent incident in particular I know of... the customer had a valuation done by an established art auction house on a piece (he had paid hundreds of pounds for a few years ago) for insurance purposes and was told the item was absolutely worthless. The artist was confronted and paid out a healthy refund including a bonus for the customer to also part with the valuation letter... which undoubtedly would have done considerable damage to his already dubious reputation had it become public.
Rather a pity really, as it would have certainly been useful as a test case for the legality the actions of those like him and the galleries involved. Tempting as it is to purchase one of these types of work and do the same by having a valuation done etc... I suspect the case would fail because it would be obvious that I personally knew the value in the first place and therefore cannot claim I was deceived.
Back to the plot again...
These reproduction prints are often touted and priced as if they are original prints in limited editions to fool the unsuspecting public that they are getting something of value comparable to an original print. The only difference between these and photocopies are claims that they are printed on quality paper using "archival"inks with a life expectancy of approx 75 years. Gosh what a reassurance that is and HOW do they know they will last 75 years? Are you, they or I, going to be around to say "Yep! they sure did" or "Bugger! It didn't last".
Oh a footnote here... I recently read on one giclee manufacturer's website that "Independent testing has shown that the "archival inks" (That word again!. ..... Actually in this piece I read.... the word was used 7 times in 3 consecutive sentances)) have an anticipated life expectancy of 150 years" (Ye God's they've doubled the figure. They really have no shame ).
(Stop Press..they now last 200 years... "Any,any, any advance on 200?. How about you sir... in the corner? 210? 220? come on now ladies 230? 240?...")
The same website also advises the giclees be kept out of any direct sunlight.. they ALL do... usually on a seperate page and tagged on later....well away from the earlier wonderful assurances of longevity.
Could someone please supply me with the website addresses detailing and documenting these "Independant" test results ?. I've searched and searched the web.... Lots of assurances ... but no BACKUP documentation detailing the tests , their nature, their duration, conditions, etc. etc...
So far ...my simple tests... stick one in a windowsill with the image partially covered on a sunny day for a few hours. I don't need to tell you the result!. Try it yourself for a day or two ..see what happens?. I just wish I could see your face. I really do.
Giclee I understand is the French for "ejaculate". Well that really says it all !
I am aware that the above comments and opinions may offend certain parties..Not that it bothers me all that much as when they set out to deceive the public they must know that they risk exposure sooner or later. I am more than happy to discuss them with anyone who feels aggrieved that I have been unfair*. But the bottom line in any discussion/argument will be "How was it made and are you declaring its FULL and TRUE nature of production to the public or are you clouding the issue with obscure terms and faithless assurances and unsubstantiated Salesmen's bullshit ?".
(* This offer has not been taken up in over 3 years . I have received numerous emails congratulating me on speaking out however.)
Strike That!
A couple of brave souls attempted to dispute with me my stand on "bogus" use of original printmaking terms. One was under the impression that switching to digital photographic media (by his own admission a much easier process ) from a previous original printmaking media he was entitled to continue to use terminology from his "original" printmaking days to describe the new end product.
Sorry... but when you turned to the dark side you left all that behind. Not a case of a "horse of a different colour"... but a totally different animal.
Another Twonk tried the insulting approach..Turned out he was just a "perveyor" of the giclee service to artists and for whom my honest views are bad for business. His trading name contained the word "Press".
Fell at the first hurdle somewhat.
I mean.. be honest now.... you don't actually have a Press do you? It's an inkjet printer...a bit misleading isn't it? . Borrowing original printmaking terms.... Tut, tut, tut.
If giclees are the "new vibrant revolutionary" media you claim them to be then why not use the new vibrant revolutionary .... and... my point here is.... the accurate .... media terms applicable to them??? This is NOT a subjective view. It's a FACT. They are reproductions... no question about it. But as I am sure I've said already (and will continue to say...ad nauseum) you will do everything in your power to avoid and evade that word.
By the way. 3 galleries(to their credit) that I dealt with during 2006... who previously permitted the sale of giclees by various artist's now no longer stock them. The primary reason aside from a natural unease was.... Joe Public wouldn't buy them....... Yaay! ......Way to Go J P !
Possibly, as well as using doubtful and totally erroneous terms.... the artists assumed the arrogance to price the inkjet reproductions the same or higher than original prints... no doubt encouraged by the Del Boys selling them the service in the first place.
From my last email confrontation (in which the writer did little to conceal his gloating and revelling in the profitable confusion ) and visiting his website... I am certain that the giclee "Trotters" of the world have a hell of a lot to answer for by misleading artists that giclees are comparable in quality to original prints.
Oh ...and by the way Paul ...Sweetheart... especially for you in view of your comments on my work.....I read in your biography that your first business venture in the music world went "belly-up".
If your 2nd venture fails you could always consider a career in Window-Cleaning (there's always a demand). If that venture fails all you need to add to the formula of You + Ladder... is.... a length of rope... and in the words of one of my favourite songs..."And the world would be a better place...Yes the wooorld would be a betterrrrr place..."
Calling them giclees is not enough. Explain to the public EXACTLY what that entails (Oh and spare them the salesmans spin & bullshit: perleease). You have absolutely no right to argue that it is the public's fault for not being aware of what is before them. YOU are their source of information . YOU should be telling them exactly what they are getting for their money.
Then they can make an "informed" decision to buy or not to buy. I all too often hear the comment "Well, nowadays everyone knows what a Giclee is." Utter Bollocks!... Stop 5 people in the street NOW...Go on! I dares yer.....and ask them! Don't do it in France though... it's not considered a polite word especially used in female company. You might end up with your face slapped or some madame shouting for a Gendarme. (Unless it's a particular type of "madame" and I'm sure for a negotiated fee one of her girls/boys will oblige you. So I'm told.)
By the way... type Giclee into your spellchecker.... the closest word that it comes up with is.... Giblets!!! even the computer fails to recognise its validity and it's the tool creating them!.
These clowns are hiding behind a word that fails completely to explain its method of manufacture to all except those in the know. Stringently avoiding honest truths like "Er actually,. I used a computer programme to COPY the original work" .
If you are failing to do that , then you are guilty of fraud and deceit and have no justification to feel hurt or offended by what I and others like me say. We are justifiably outraged at your deceit and conceit and will always be there nipping at your heels.
Live with it!
And finally.... I read that the use of the term giclee came about to describe the "spurting" (Guffaw ..Guffaw Snigger.. Snigger...) of the inkjet ink onto the paper. So why not just use the word "inkjet"? It does the job its supposed to do precisely. Possibly "inkjet" too readily gives the game away... Eh?
Sorry....but just couldn't resist... The process I have read recently..... was pioneered and developed by a Scot.....Er so why the French name ?...Just a thought.
(*) Footnote. About bogus assurances. I notice that the phrase "Fine Art Trade Guild Approved" is now being tossed into their selling descriptions. What does that mean exactly?
Did the Fine Art Trade Guild approve your giclees personally ?. Did you submit the work to them for scrutiny and assessment? Well DID you luvvies? Did you really?.
While we are at it. The FATG describe correctly their editions as being Reproductions . I note you don't use that word. Slip your mind did it? ...... Enough Said.
The rest of this page describes some of the techniques David uses in producing his etchings.
Stage 1 - Preparing the etching plate:
First of all David chooses a suitably sized copper plate and cleans it thoroughly using Methylated Spirit to remove all surface grease. He then spreads a thin wax ground over the plate on a hotplate using a roller . (photo 1). Once the ground is evened out, the plate is "smoked" using lit wax tapers, the flames of which are passed to and fro across the upturned waxed surface causing the wax to remelt and absorb the soot from the flames to create a rich black surface. (photo 2) This allows David to clearly see the lines he will draw into the plate in the next stage.
Stage 2 - Needling the ground:
Next David needles his design into the ground using a variety of etching tools (photo 3), these range from specialised etcher's needles to old pens and sandpaper depending on the effects required. It is vitally important that the lines drawn actually expose the copper plate underneath the ground. The image has to be drawn in reverse so that it will appear the 'right way round' in the final print.
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| Photo 1. | Photo 2. | Photo 3. |
Stage 3 - Etching the plate:
After the design has been needled into the ground, the areas of the plate which David does not want to be exposed to the acid used in the etching process are 'stopped out' by covering them with a lacquer or strong tape. The plate is then etched in a bath of nitric acid (photo 4). By varying the strength of the acid, length of time the plate is immersed in the acid and by stopping out parts of the plate, David can control how deeply the acid bites into different areas of the plate and therefore how much ink they will hold. The remaining ground is removed from the plate once the etching process is completed.
Stage 4 - Test proofing:
Before deciding on the coloured inks he will use in the design, David first takes a series of test proofs of the etching to see how the design appears when printed and to see if he needs to make any adjustments to any of the lines on the plate. This may require David to re-apply the wax ground and re-needle and re-bite the design in places.
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| Photo 4. | Photo 5. | Photo 6. |
Stage 5 - Inking up the etching:
Once David has decided on the colours he will use, he carefully begins to apply the inks to the plate, one at a time, using a small corner of mounting board (photo 5). The plate is kept fairly warm on the hotplate during this process to encourage the ink (a thick mixture of powdered pigment and Linseed Oil) to flow into the lines on the plate properly.
Stage 6 - Wiping the plate:
After covering the design with ink, David cleans the surface of the plate using a fine wide meshed cloth (Bookbinder's Scrim) and then quality ( the cheap stuff disintergrates after a few wipes.. Trust me... the extra expense is worth it!) acid-free tissue paper wrapped around the ball of scrim lightly stroked over the entire plate surface until only the ink in the etched lines and textures remains (photo 6).
If a particularly white bright print is required usually in two plate etchings. David uses a technique called "handwiping" where the edge of the hand is dusted with "Whiting" or French Chalk or if desperate... Talcum Powder pinched from the bathroom.. Too much powder clogs the lines, too little and the plate sticks to your hand and can be sent spinning across the studio floor. Pray to God when that happens that it lands face up or there will be tears before bedtime!
The edge of the hand is then gently flicked all over the surface of the plate to remove totally all the last traces of surface ink. Getting this process right does take time and practise but when aquired it is a skill that can save a lot of tissue usage and time, as well as producing a brilliantly crisp print.
Stage 7 - Taking a proof:
Before taking a proof, the vellum paper David uses(Arches Vellum Blanc 300 GSM) has to be dampened, this is usually done anything up to a day before printing by soaking in the bath if using large sheets or any convenient shallow tray (Hooray for cat-litter trays... cheap and ideal). Once out of the water it is put between dry clean heavyweight blotting paper to remove any surface water. The paper is judged to be ready when it feels a bit like damp washing when held against your cheek. If printing a quantity of pieces, the paper is stored in a large plastic bag to keep it damp until required.
When the paper is ready it is gently placed on top of the plate on the press bed (photo 7). David then lowers the press blankets over the plate and turns the handle of the press to apply a crushing/rolling pressure over the plate and paper (photo 8). This forces the softened paper into the etched lines full of ink and the ink then sticks onto the paper. Finally the press blankets are lifted and the paper peeled gently back from the plate to reveal the print (photo 9). The print is then placed on a bed of blotting paper and covered with a sheet of tissue paper and another sheet of blotting paper.
Throughout the printing session this process is repeated for each print until finally a multilayered sandwich is formed. At the end of the day a heavy board is placed on top. The paper dries much faster than the ink which can take up to 5 days to dry (in Summer, longer in Winter due to the damp atmosphere) so it is necessary to dry out both evenly or you end up with "cockling" of the paper instead of a crisp flat print.
The following day the prints are taken out gently (the ink can be smudged otherwise) and put back with fresh tissue and fresh blotting paper with an extra board for weight added to the top of the stack. This is repeated for up to 4 days until satisfied that the risk of smudging is minimal. Then the prints are left for up to a week to make certain they are thoroughly dry before they are ready to be signed titled and numbered.
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| Photo 7. | Photo 8. | Photo 9. |
The whole process from conceiving the initial design through to producing the final print often takes well in excess of 100 hours to complete.
LIMITED EDITIONS & CANCELLING THE PLATE.
Once the required number of prints are taken they are then signed titled and numbered in pencil. Each edition has an "Edition Sheet" This is a columned spreadsheet which records each individual print's whereabouts and destination and finally date of sale.
The plate is "cancelled" finally by taking a metal scribing tool and deep lines are scored across the surface from corner to corner diagonally. For good measure a power drill is used to drill a hole through the middle of the plate. Any attempt to take a print from the plate will now obviously show a pronounced marring of the image.
(Pause.... As artist steps back on his soapbox)
Visitors often express horror at seeing the cancelled plates and often refer to the plates as "works of art" in their own right and ask how I can do such a thing. Well firstly the words "Limited Edition"personally MEAN something to me. There is unfortunately a natural (but sadly justifiable in some instances) suspicion that artist are tempted to take "extras" off of a print from a plate. I don't.Full Stop!
I know of artists who release an edition, it sells rapidly and profitably so they do what they blithly call 2nd editions and 3rd etc... I know of one who's cat etchings are currently in their 23rd edition! Each edition is advertised as being of 75!.... Er? Hello? 23 x 75 = 1,725 simple maths!(O.K. Yes, I did use a calculator) Many, if not all of the customers thought and will think that they were/are buying 1 of 75 not 1 of 1,725 .
Is that not important or am I the only one who thinks that it is less than honest?
Such an outrageous example of greed gives reasons for well founded doubts on all claims of limited edition. I go out of my way to prove the validity of my claim to show that people like that are the exception and not the rule.
Edition is a word that clearly denotes a predetermined "start" and "finish" and is finite. To print more and more until the cows come home is absolutley NOT worthy of the term "an edition".
I must just mention another abuse and that is the term "Open Edition".... Bloody Hell!. That has to be the most rediculous statement ever. Why not just say "as many as possible until its obvious no one wants them or I the maker/seller drop dead" The term offers a concept of a "quality" and a "reassurance" that simply doesn't exist. Open Edition is a contradiction in terms. It cannot be both at the same time.
I repeat......an edition is "finite" Don't use the word if you don't mean it..... Feckwits!
Rant over.......