http://www.painters-online.co.uk artistApril 2016 21
TAvirtually identical batch until the
edition is sold out.’Printing
To print the plate, Roger covers it
with viscous ink and wipes carefully
with muslin rags, which removes
excess ink from the surface but
leaves it in the lines and dots. He
mixes his own inks using black and
coloured pigments with heavy and
medium copper plate oil. ‘I print
very hot. Others use a more fluid ink
at lower and more comfortable
temperatures but I find this reduces
the contrast in the tones.’
Roger’s printing press is a Bewick
and Wilson prototype from the
1980s. It has a self-lubricating
gearbox and has fortunately been
more-or-less maintenance free. He
uses Somerset satin white and buff
paper. ‘These have become less
sized over the years, which can be a
problem for colouring with
watercolour as it blots too much.
Fabriano Rosaspina seems an
excellent alternative but it needs 24
hours' soaking. Zerkall Copper Press
paper soaks instantly, which makes it
perfect for proofing.
‘A gallery owner once suggested
that I should tint the monochrome
prints by hand with watercolour,
which I have done ever since. I use
the whole range of Daler-Rowney
Artist's quality watercolour tubes,
but restrict the palette if possible.
The prints are stretched before
colouring. The need to come up with a simple repeatable
scheme for tinting an etching leads to a sort of essential
balance that people seem to like. The printed surface of the
paper facilitates a quasi half-tone effect in the colours.’ A
limited edition, numbered and signed by the artist, is
printed before the plate is destroyed.
‘The etching process can continue to be refined forever. If I
thought I'd mastered it, it would be boring. Having many on
the go at once partly mitigates the disappointment when
one goes wrong. If I were starting out in etching now I would
look seriously at the modern non-toxic techniques.’
To frame an etching Roger recommends a generous window
mount. ‘The internal aperture should be a short distance
from the plate mark. I don't like frames that are too ornate
but it really is a matter of taste.’Beech Avenue,etching, aquatint and
watercolour, 11^3 ⁄ 4 7in (30 18cm).
In real life, the horse was only half that size
at the far end of the avenue, but that would
have looked like someone riding a dog. I
wanted to combine autumn colours with
those of spring: cadmium orange leaves in
the ditch, lemon yellow ones high up in the
treesRoger St Barbe
has a degree in modern languages from Jesus College,
Cambridge. He has just celebrated his 25th anniversary at
Dolphin House Art Gallery, Colyton, where works are on
display. He also does framing at the gallery. He has held a
number of successful one-man shows and contributed to
group exhibitions, including the RA Summer Exhibition in- Roger has illustrated two books of poetry by David
Bushrod; the revised full-colour edition of Marshwood Valeis
available from Dolphin House Gallery. His work can be seen at
the Creative Coverage Open Exhibition at Kennaway House,
Sidmouth, Devon from April 29 to May 6.
http://www.dolphinhousegallery.co.uk; telephone 01297 553805