The Importance Of Etching In Art

‘The printmaking course is taught in a traditional way with the focus on technique.’

The printmaking lecturer, Mr Larry Simpleton, is close to retirement; he is a master printer who specialises in etching.

‘The word ‘graphic’ is derived from the Greek word graphē which means ‘to grave’ or more specifically to write or draw. In French, l’art graphique, means art reproduced indirectly on blocks or plates, as found in the auto-graphic printing processes; and this is how it is applied in my classes.’

Mr Simpleton is standing quietly behind a large cast-iron printing press using a mutton cloth to lovingly clean the already gleaming surfaces.

‘Etching is a technique that developed out of engraving. Rembrandt and Hercules Seghers, the seventeenth

Mr Simpleton’s aim is to train his students in the discipline of technique. His lessons involve theoretical explanations followed by the practical application of these explanations.

‘In etching the technique is the medium of thought. The graphic artist needs to see the artwork as an etching before beginning. The artwork is thought of in terms of its medium. This initial visualisation is then grown as the work develops. Effects are added or disregarded and ideas developed assisted by the types of materials and tools. The design is determined by the technique; chance effects are only acceptable if they help reflect a critical contempt for the shortcomings of present-day society.’ He moves around to the acid baths and fiddles with the acid jars adding water diluting the

It looks as if he is getting ready to print.

‘One of the main points of etching is fine line drawing. By fine line drawing I mean that one can draw beautiful lines with a pin. So I want you to make your first etching with a pin.’ Mr Simpleton says to the class after his explanation on the process.

‘It is a sign of weakness if the single lines are unclear or extinguished in solid shadows. Lines are not one dimensional. Remember, that line depends on the proportions and surrounding of other forms. A thick line on an A4 piece of paper is a lot thinner on an A3 sized page. In contours, the tempo and life of the lines must not be indecisive or hesitantly put down. Do not be insincere about your lines; if I see any slick line I will fail you. It doesn’t matter what type of lines you use, as long as they are not slick; in etching what’s important is that the line suits your intention. Do you understand Painter?’ He says directly to