|
The Man...
Frank Nichols taught
printmaking at FHSU most of his career before his retirement in 1999. At
that time he was granted the title “Professor Emeritus.”
See Frank's entire Professional Biography and as
he was featured in Artists: A Kansas
Collection.
Retirement has not
slowed Frank down. In fact, it has increased his creative productivity.
He has kept busy in his home studio creating new works of art, many
featured on his website.
The Method...
The initial black and white etching was
made from a copper plate. Using a variety of coatings on the plate that
act as resists, the original drawing, textures and values were bitten
into the metal with hydrochloric acid. The coatings are called “grounds”
and one must use a specific ground for each effect. For example, if
lines are wanted a ground for producing lines is used and the lines are
etched as a separate process. The image is completed by carefully
building the different effects with different grounds. Before the plate
is finished, it will have been immersed in the acid many times. The
amount of time in the acid determines how dark the image becomes.
The finished copper
plate is printed by covering the plate with ink and wiping the plate
until the only ink remaining is that which is retained in the lines and
crevices etched into the metal. Paper is placed on top of the plate and
they are passed through a large press capable of great pressure. The
paper is forced into the lines and crevices containing ink and the print
is made. The ink was made from a combination of carbon, vine ash and
pulverized charred bones. The paper was made from an all rag pulp with a
neutral ph factor. I usually use Arches Cover or Rives BFK, imported French papers
with an international reputation for excellence.
Color may be achieved in a print by
actually printing the color, but I prefer to use the hand coloring
method. The print is dampened and taped to a hard surface so it will
maintain its flatness through the painting process. Watercolor brushes
are used with a very thin acrylic paint mixture. I have a few studio
secrets about the mixture I use. The painting process is as creative and
demanding as the initial creation of the image on the plate. While the
initial image of the print is always seen through the transparent layers
of glazes, it is possible to make many changes in form and composition.
Elements can be refined or added.
The completed hand-colored etching is a
one of a kind, original art work and, therefore, carries no edition
number. Because of the intricacy of the painting process, it would not
be possible to duplicate the picture.
|