Andy No. 2, 7/7

Drypoint Etching, 2" x 3 $55.00 Bid Here

This is an image that I have gone back to several

times - which seems to be a habit that I have. If

I didn't know that it was/is common among other

artists, I'd worry about it. But some images just

sort of grab you and don't let go. This guy was

a model for my classes for a while. He was unusal,

and that is all I'll say about him. But his face in this

image has something transcendent about it, and I

was happy with the way that I caught that. I also

like the burr in his hair.

For those of you who are not that familiar with drypoint,

it is a demanding medium, that differs from etching, in that

you draw directly on the bare plate with a diamond or

carbide steel point. There is never any acid involved. Any

tone, line variation, texture, etc., all that has to be produced

with the point of your instrument. It takes a lot of practice. I have

taught many people to do it, and have found that some people are

naturally skilled in it, yet for others, it is a struggle they eventually

master if they keep at it.

People who do a lot of graphite drawing find drypoint etching

rather natural, so if you think you might be interested in doing

this, that's what you should be doing to prepare for it. Or course

you need an etching press , and printmaking paper, and ink to print

the plate. Editions from drypoint plates are not large, because the

burr (the piece of metal that is kicked up along side of the line that

you draw through the metal surface - that would be cut off by an engraver,

for instance) wears down a bit with the pressure of every printing.

Twenty prints is a large edition for drypoints!

After Greek Athlete, 2nd C. BC

Oil Pastel over fixed charcoal drawing
on Rag Paper, 2" x 3" SOLD
I cannot tell a lie. I did not do this piece
today. But we had a terrible thunder,
rain, wind, hail, tree-branch-falling
storm here last night, and the day was
too full of distractions to get anywhere
near my studio. I felt it was in keeping
with what I posted yesterday as well.
I love this piece, and have actually
had it for years, not being able to part
with it, but I've decided it's time to
let it go. (if any one wants it, that is...)

The technique for this is fun. You do a
dark, hard -charcoal drawing -- you could
also use Conte or black Prismacolor
I imagine. Then you have to spray the
heck out of it. Next, you take a less
expensive brand of oil pastel like Shiva
or Prang, and go over that with a solid coat
of white, which will be transluscent. You
will be able to see your drawing through the
layer of white.

Next, you work into the white layer with other
colored oil pastels, either the less expensive
ones, or maybe Holbeins, or Winsor -Newtons; but don't
use Senneliers, because, as I said in a previous post,
they are an exceptionally luxurious product, literally
like lipstick, and would probably end up covering up
your drawing. The idea here is to work with
transparency and transluscency - to keep your
drawing partially visible, in other words.