Intaglio Without Acid: Copper Plate Engraving & Drypoint with William Demaria

When most people think of intaglio printmaking, they think of etching. Etching is a beautiful art practice but fundamentally it requires acid. The acid used in printmaking is less dangerous than many people think, but it is incredibly messy and requires dedicated space. Fortunately, there are other intaglio printmaking processes outside of etching and these processes are much better suited producing artwork at home.

Engraving was one of the most popular forms of printmaking from the late 15th century through the 18th century and still is an evolving practice to this day. With artists such as Albrecht Dürer championing the process, engraving was best noted for the sculptural character of its lines. Today artists are drawn to engraving because of the immediacy of the process and the ability for engraved lines to synergize with experimental art making processes such as monoprint.

Drypoint as a process has always been present throughout art history but only rose in popularity in the 20th century. Likely resonating with chaos experienced by artists in the post-industrial world, drypoint is an incredibly kinetic and unstable processes but also raw and emotionally captivating.

This class will start with basics such as teaching students how to sharpen burins and bevel copper plates, introduce students to historic techniques, and end with applying those techniques in modern experimental processes. All skill levels are welcome.

Please note engraving and drypoint are both physically demanding mediums and are not advisable for students with joint problems or injuries related to repetitive motion.

6 participants maximum; $480

At the end of the class, an exhibit with the students’ work will be held at the Georgetown Library.

To register, please go to:
https://www.eventbrite.com/e/intaglio-without-acid-copper-plate-engraving-drypoint-with-william-d-tickets-752781970137?aff=oddtdtcreator