Images below can be magnified
Decent From Cross - Remrandt Appropriation
Scale of Plate: 16" X 20.5"
measures in place due to Covid have meant that I was unable to enter the etching workshop I need to complete this work. And so, it is only half complete. I do however have some proof prints (above). This should give some indication of what the work would have looked like. The meaning behind the work remains the same no matter of its level of completion at this stage, as the illustrative part is complete, so the spectator can still draw meaning from it, but the quality is not as originally intended because it needs to be re-bit in the acid bath to deepen certain sections, and final prints need to be done.
I quite like the irony in that the piece is a negative reference to Covid and has then been affected negatively by it itself.
This section of detailing I do like. The fine lines of the wood texture came out well, and the division of tones is closest to what I had aimed for in this print (under the figures arm). However, the piece as a whole needs to be darker.
The ink on this print (print 2) lifted with the paper along with it. I think this was due to both the paper not being patted off properly, and the ink used was very thick and probably could have done with oil being added to it.
Pictured on the left is print 1 with the start of my planning of where to work into the plate more. I chose to use a red pen so I could see the direction of lines for crosshatching over the previous work. It also allows me to more clearly see the smaller changes I would have done (if it were not for Covid).
Plate before biting
I used 2 separate optics (with magnifications of X30, and X160) to judge the quality of the bite so far and calculate how much extra time was needed. I decided to put the plate in for an extra 30 mins. Then checked again and decided to put the plate in for an extra 15 minutes. Stopping out certain overly bit areas before doing so (see bottom 2 images) because when the bite is too harsh the ink won’t sit in the grooves as the surface area would be too large.
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A Rakes Progress - Tavern Scene Appropriation
Scale of Plate: 12.6" X 15.5"
This piece is the 3rd picture from the series "A Rakes Progress". Depicting the rise and fall of fictional character Tom Rakewell, who would spend his inherited fortune on a luxurious life with prostitutes and gambling. Eventually ending in prison and hospitalisation.
when studying explanations of wealth distribution, early theorists blamed the poor for being poor. 19th Century sociologist Herbert Spencer said the poor were lazy, immoral and too interested in alcohol so they fail themselves in not bothering to work. He also said that they should not be helped as they are a useful example to others not to follow that way of life.
This ideology can be compared to the views of the Conservative government and its links to functionalism and neoliberalism which favour the lack of state intervention to such matters, as Capitalism thrives on inequality of income. This is because profits can be made when wealth is unevenly distributed, and the Capitalist class needs profit to maintain their power in society.
The "Tavern Scene" already shows he indulgences of the rich, so I want to appropriate some modern day indulgences. I also want to show the irony between the Conservative view that the poor are poor due to their actions involving alcohol and laziness, and present how the rich indulge in those behaviours at an even higher level.
some close up images
plate before biting - zoom to see backwards details such as writing
Using Feric Chloride (40%) I bit the plate over all for 2 hours, 20 minutes at a time, at each 20 minute end, I took the plate out, washed it off and applied varnish (stopper) to parts that I wanted to be lighter to create depth in the picture. The furthest part of the background was blocked first, then each time was brought closer to the foreground, so that those figures at the front would be the darkest and most detailed.
Justin (the workshop technician) taught me different technique at apply and polishing ink off, the traditional way. There are a few differences with this process but the main 2 are: Using the edge of the palm of your hand to sweep at the ink (firstly applying a powder to absorb any oils in your hands). and then VERY softly sweeping the skrim over the plate, a method called rosatage (not sure if I spelt that right) which is used to draw the ink back up into the surface of the plate to pick up more depth of colour and details. I am very happy with the results as they are a major improvement from the first set I did. There is considerably more detail and deeper blacks which hopefully show up in the photos.