Etching
736 creative works found
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Aquatint Etching Inspried by the movie ‘Brothers Grimm’ this series of aquatints explores the origin of fairytales and dismisses their sanitization! Here the Gingerbread man runs to envelop the child and become one! “Run, run as fast as he could / he couldn’t escape the / Gingerbread Hood” Yeah I know it’s a lame rhyme but then so am I! Original / Aquatint on BFK Rives using Sepia and Ultramarine Oil based Ink gradation. / 25×19.5cm / ~ / More of my Works /
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Again. All of these etchings are made more then 20 years ago. This one I made when the Christmas season was approaching. I was not at all in the mood for that. Because I was extremely depressed. So, I made this etching and send it to my friends as a Christmas card.
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Okay. Time to wrap this project up. Enough of the past. One to go after this one. -Etching from the early 80’s
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I hope you see my humor here. It also inspires the CREATIVE ones we know, yes?
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Copper plate ultrasound Print
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Genuine artwork with limited edition!Dry point in color! Measures: 492mmx365mm / Price: email me: pppavelpop@gmail.com
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Genuine unique -Drawing-Sepia! / No Copy`s! / Measures: 440mm x 303 mm Price: email me on: pppavelpop@gmail.com
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An etching done of a macro view of the famous Aussie bushfly!
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Buckle
by Linda Sassetching with hand aquatint /
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Etching, zinc plate, aquatint, soft ground, brown ink. / Traditional printmaking method. / Printed on Velin Arches, acid free. / Mono print / Created 2004 © Gudrun Eckleben, www.geeart.com • Featured in Printmakers and Printmaking September 2009 / • Top 10 in Taking Flight! challenge September 2009
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Very old oak tree in California foothills during snowstorm.
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An etching that uses a variety of techniques within the composition
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Etched Glass Effect in Photoshop
by Alison JohnstonYou can make this an etched glass effect, or, by inverting the filter, make it appear as though the shape/type/whatever is moulded in the…
You can make this an etched glass effect, or, by inverting the filter, make it appear as though the shape/type/whatever is moulded in the glass. Because my glass is light, I will be using a black filled shape. If your bottle or glass is dark, the type/shape/whatever, would need to be white. So lets get straight on with it. You can click through on my glass image below to get the larger start image, or you can use one of your own. Just remember that any settings I use are relevant to this file 720 X 1000 @72dpi. Your first step will be to create a new layer above the b/ground layer and then fill it with white … turn off the visibility of the layer by clicking on the little eyeball icon next to the layer. I’ve chosen the ‘Flower Oranment 2’ which is a Photoshop default shape, and I’ve drawn it on the glass …. see image below. Make sure that you are working on the Shape Layer (or type – making sure the spelling is correct) and go to Filter>Blur>Gaussian Blur, a small dialogue box will appear asking you to rasterize the shape or type, click OK to make that happen and then choose a small amount of blur. I have used 2 pixels on this particular image … which might be a tad too much …. we’ll see. Next you are going to create a flattened copy of the image and save it to your desktop…or somewhere that you will remember, because we are going to be using it shortly. Go to Save As and when the dialogue box appears, make sure that your uncheck ‘layers’ and check ‘copy’ See image below. Now, duplicate the original b/ground layer and turn off the visibility of the shape layer and the layer you filled with white. Working on the duplicate b/ground layer go to Filter>Distort>Glass and the Filter Gallery dialogue box will appear. Look at the right hand side of this box and notice where it says Texture, click on the small arrow and a small box will appear that says load texture, click on this and load the file that you previously saved. As you can see, I called mine Flowerdistort. You can fiddle with the Distortion and Smoothing, but you will have to leave the Scaling as is. You can also check and uncheck the Invert box to see which variation you prefer. Once you have the settings as you like click OK to make it happen. And here is the image with Inverted checked. And that’s it. Fiddle around with the settings a bit till you get what you want, and remember that if the bottle, glass etc., is dark you will need to reverse the colours i.e. the layer will be filled with black and the shape or type would be white.
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inspired by Muscular Teeth and his cute as little RB tee shirt.... this one is for the photo tragic’s out there…...
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Beech tree etching – black ink and printed onto white fine textured etching paper. The copper plate for this etching is A4 size took me 20 hours to work on it with an etching needle. Each print takes 1 hour to ink up and polish before printing. This tree seems to have a life of its own and is so magical. This etching is from a sketch I did in the Norfolk village of Withersdale Street. BEST VIEWED LARGER BEECH TREE – AL PHAGOS – QUEEN OF THE WOODS ANCIENT PAGAN WISDOM The Beech tree traditionaly known as the ‘Queen of the Woods’ beacause of its beauty and femininity shars its honour with the Kingly Oak . Local British traditions associate it with serpents, probably because of its serpentine root system, which are revealed by soil erosion when they are planted on hills or slopes. Behind this again lurks the notion of the wise serpent giving knowledge to those who ask for it. Several altars to the beech have been discovered in the French Pyrenees, suggesting its important to the Celtic tribers who lived there. It is said that no harm would ever befall a traveller shelting beneath its branches, while prayers uttered in its shade were bound to be answered, just as any curse spoken there was said to be more effective. Slivers of beech wood and leaves were once carried as talismans to bring good luck and increase creative energy. Wishes carved on beech wood wands which were subsequently buried in the earth, were said tto be particularly effective and, as the wood rotted away in the earth, the wish was released to bear fruit in the outer world. / Thin leaves of beechwood are said to have been bound together to form the first book, which is ceretainly in line with its central association with writing and the transmission of lore. The Anglo-Saxon word for ‘beech’ was bok (which became book), in German Buche is ‘beech and Buche us ‘book’, While the Swedish word ‘bok’ means both ‘book’ and ‘beech’.
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ETCHING PRINTED IN PRUSSIAN BLUE ON THICK FINE TEXTURED SOMMERSET ETCHING PAPER. ETCHING IS OF A BENCH IN THE WOODLAND BURIAL GROUND, NORFOLK / ACTUAL PRINTED AREA IS 6 X 4.5 INCHES. ORIGINAL ETCHING SOLD
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Multiplate: / Drypoint inked intaglio / Background relief wood / Printed on Somerset 250gsm white (have had excellent success with this paper and it’s a tad cheaper than my usual BFKRives)
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“Charles Dickens meets CS Lewis”
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4 steel plate etching and aquatint on Stonehenge paper and recycled survey plan. / 36×36 cm / 2009 A work inspired by a recent visit to the small ex-Hydro town of Waddamana in the central highlands of Tasmania. This was my first arrangement of the print. I decided it needed more strata to convey the sense of passing time and history. The final version can be seen here.
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Multiplate / Solar plate etching / Embossment in linocut Printed on Somerset (wish i had printed on Velin Arches or similar for a better embossment, but you live and learn, eh?) This etching and embossment won a highly commended this weekend at the Oyster Bay Art and Craft festival. Also sold another etching so this weekend was rather excellent!! FEATURED IN VISUAL TEXTURE
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Etching and linocut on Stonehenge paper / 2008-09 / 18×72 cm
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This is a photo`aquatint. And it is a collaborative print, with artist, Cynthia Church. She photographed the tiny monument for a child’s grave, and I transfered the image using Lasertranz, to a copper plate. I then aquatinted it and etched in ferric chloride mordent. I used Organic Black on Lana Gravure printmaking paper.
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Etching and Aquatint. / Limited pull of 12 prints due to fragility of aquatint, which starts to disintegrate after the 12th pull. / Was featured as my best piece to date in the 2008 publication by ALMA on p42-43 of “Australian Latvian Artists” under my full name Ilze Coombe. / I also handset the type that went with the story and printed it on watercolour paper.I was enamoured of Art Nouveau in the 1970s and all my work at the time was influenced by it.
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