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Making an Etching

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Cliona Doyle makes etchings and carborundum prints as well as mono-prints and mokuhanga (japanese woodblock prints). When making etchings, She generally makes her preliminary drawings directly onto her plates outdoors, drawing directly from nature. She then returns to the studio and begins the process of developing and proofing her images. This can take several weeks, extra layers can be added to the initial drawing and tone can be added with aquatint.

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Copper plates for 'wild Orchid and Brimstone' during aquatint process.

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Copper plates ready to print.

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When the plates are finally ready they can be inked up in a variety of colours and run through the printing press with damp paper laid on top. The proofing process involves trying out different colour combinations until the artist is happy with the result. The print can then be editioned and signed.

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First plate being run through press

First plate of three being printed.

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Printing third and final plate for 'Wild Orchid and Brimstone'.

                              

                                      Inspiration

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My work is about the changeable and fluid state of the natural world, a sense of place and the patterns found in natural forms. I work outdoors directly from nature whenever possible as I feel it gives a particular dynamism or energy and focus to the end Result. I am interested in the peculiarities of a particular plant or tree and how it emerges from the earth and the environment it grows in. How particular plants may interact with each other and their environment. The imperfections of how a particular branch or stem may grow as well as the perfection of a flower in bloom or a tree in fruit.  For many of us who live in cities we are divorced from the sense of wonder the natural world can elicit. I believe this is something many of us wish to reconnect with.

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