The title of this work is, THE BAYOU POMPOM BIG EASY IN PINK. Print Two of Five, and Edition ONE of FIVE. Media includes four colors of oil based, Charbonnel brand etching inks, RivesBFK white paper, and mulberry bark paper from Thailand. The studio techniques employed include Intaglio and Chine Collé. This specific plate required five plate re-workings and acid baths. Artist’s Notes on The Zinc Plate Printing Process — The plate’s four sides are first hand-filed and then cleanedde-greased with French chalk or whiting. I then apply the first coast of liquid Hard Ground, which is a blend of natural bees’ wax and mineral spirits. This is allowed to dry for twelve to twenty hours. I next began to etch my lines into the ground with various intaglio needles tools and place the plate in nitric acid for its first bath. The ground is washed off with turpentine and cleaned for the first inking and rubbing. The first Artist’s Proof is pulled and subsequent grounds, plate workings, and acid baths continue until I obtain my desired image. This technique dates back to the time of Francisco de Goya in Madrid. This etching, part of my New Orleans Series, was inspired by a photo taken between 1930 and 1939 by Frances Benjamin Johnson, born in 1864 and died in 1952, who was one of the few recognized female photographers of her era. The title of her photograph is, “701 Bourbon Street, corner Saint Peters Street, New Orleans, Orleans Parish, Louisiana”. Her photo, which reflects the documentary aspects within her creative eye, is part of the Washington DC Library of Congress, Prints and Photographs Division, The Carnegie Survey of the Architecture of the South. Call Number is LC-J7-LA- 1011 PP. I used a single zinc plate, which measured six-inches high by nine inches wide, or 15.24cm by 22.86cm. The paper print measures 11.2 inches high by 15 inches wide 28cm x 38.100cm. Please note that this etching is shipped to the buyer without a frame or mat. This keeps the price reasonable and also allows the collector a wide range of choice in framing selection. For shipment, a sturdy cardboard box is employed. The etching is first wrapped in two layers of acid free glassine and then placed between two archival boards. This is next placed into the shipping box and securely packed with bubble wrap. The price does not include any shipment costs.
In my Chine collé Process, which translates as Chinese pasting, Methylcellulose powder is re-constituted with spring water and then applied to mulberry-bark paper from Thailand. The treated paper is allowed to dry overnight, and I cut it to fit the plate areas where I want color to exist in the print. These stenciled mulberry-bark papers are first dampened or misted with water and placed upon the already inked and wiped etching plate. The printing process continues, and a multi-colored image on paper results.