Dorothy Griffiths Fine Art
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About Dorothy Griffiths

Having spent 30 years a successful artist my work is in demand all around the world from United States, Across Europe and in Japan.

I have exhibited at many of the main London exhibitions and my work is on permanent display at galleries throughout the U.K. and abroad and have attracted a considerable number of private collectors

My  work ranges from botanical studies, for which I have won three medals from the Royal Horticultural Society for watercolours depicting the months of the year, through to seascapes, animal portraits rural scenes, free flower watercolours, inks, pastels and oils and my renowned London scenes.

The Craft Of Etching

 

The craft of etching began over 400 years ago with artists such as Rembrant and Durer using the same basic techniques as the etchers of today.  As etching replaced the more laborious craft of engraving it became popular as a means of expression in its own right, rather than as a means of reproduction.  Today, with the widespread  use of photographically reproduced and mass produced images it is important to emphasise the completely different nature of the autographic prints such as lithographs and etchings, where the artist draws the image directly onto the plates and is involved in the very individua l methods of inking and printing.

 

The subjects for my work are drawn increasingly from the English landscape, flowers and scenes which I find around me.  The first step is to make a detailed pencil drawing. The permanence of the etched line makes corrections very difficult and it is necessary at this early stage for the lines to be drawn and redrawn until the composition is to my liking.

 

I use copper plates and after cleaning and heating, a thin waxy acid-resisting ground is applied with a roller.  This is blackened by inverting it over smoking tapers so that the plate has the appearance of a new blackboard.  The main elements of the drawing are traced on to this surface with the tracing paper, needling now commences.  It is a delightful experience to draw with a fine needle on the darkened surface, each line revealing the bright copper.

 


When the plate is completed it is then immersed in acid.  When the plate has been bitten to my satisfaction it is cleaned and then an acquatint is etched into the plate.  Ink is applied to the plate when it has been completed and when wiped off it remains in the grooves and cavities.  Under pressure in a press, the ink is transferred to a dampened paper, which also receives the “plate mark” satisfaction and therefore you have in common to all intaglio prints.  For every print the plate must be inked and wiped to my satisfaction and there you have an etching which is one of my little joys in life.

                                                                    


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