Dry Point Etching
"Dry point etching dates back to the 1500s" says Artist Russ Estes. "Rembrandt used dry point etching, working with a nail. Much later it was done by Whistler. But it has become a dead art form, because artist now use acid etching"
Russ Estes explains that dry point is done with needles and there is no margin for error. By actually drawing with needles, scratching into a metal plate, he creates lifelike images.
The Lawmen series is the newest addition to Russ's western collection artwork. The first three pieces which were completed portray the different styles of lawman of the Old West.
A series of intricate, time-consuming steps are involved in the art form, Russ explains. "It is multifaceted. First, you must act as a photographer and photograph your subject. The next step is a fairly detailed pencil drawing from the photograph. The drawing is then transferred to a metal plate, usually copper."
The scratching process is even more complicated than it sounds. Because the transfer process from paper to plate reverses the image, the artist must draw in reverse.
An exacting art form, it is also physically taxing. "The depth of the scratch determines the intensity of the line," says Russ. The deeper the cut, the darker the print when the plate is inked. The lines can be only as deep as the hand has the strength to etch."
Needless to say, many hours go into this part of the work. With incredible precision, Russ achieves different effects using a variety of needles. "One of my tools is handmade," he says. "It is actually a nail. When I discovered that Rembrandt worked with a nail so many years ago, my ego said that I had to try it, too. I really do like working with the nail etching tool."
One slip of the point, however, can be disastrous. "You can spend 20 weeks on an etching and then blow it," Russ added. "There is just no margin for error."
The amount of time spent on a project depends on the complexity of the piece. "I've spent anywhere from three weeks to 26 weeks scratching one piece. When I'm in my art mode, I can work as many as 16 hours a day," says Russ.
Why the extra effort? "I consider it a challenge. I've always enjoyed etchings and I like the intricacy of dry point. And it is not plagiarized easily. What I do, no one else does."
After the etching has been completed, the plate is inked with a traditional etching ink made of natural pigment and burn linseed oil. Allowing the ink to sink into the scratches, the excess is wiped off the plate with a cloth that has no knapp.
Next, the plate is laced face-up on the bed of a hand-cranked etching press. A piece of 100 percent rag fibre paper, made pliable by overnight soaking, is laid on top of it.
Three felt printing blankets are laid on top of the plate and paper and the whole affair gets squeezed through two metal rollers, similar to an old wringer washing machine.
"The ink is not delivered," Russ explains. "It is collected - just the opposite of modern-day printing."
After a four-day drying and blotting process, the piece is custom matted and framed.