Lin Carte Anderson, Below the Brine, Original Art Etching on Paper

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"Below The Brine"
Original Limited Edition Intaglio Etching by Lin Carte Anderson
Hand signed, numbered and titled by the artist
… Read more "Below The Brine"
Original Limited Edition Intaglio Etching by Lin Carte Anderson
Hand signed, numbered and titled by the artist
Paper Size: 22" x 30"
Image Size: 17.25" x 23.75"
Certificate of Authenticity is included
Edition Number: CTP (Color Trial Proof)
Condition: Excellent /Near Mint. There is a small dot of the green ink on the right side margin. This will be covered when framed.
Pencil Signed, Titled and Numbered by the artist



Lin Carte Anderson

Free-form images, irregular line, and subtle colors combine with the elements of nature in the intaglio etchings of Lin Carte Anderson. The results are intriguing juxtapositions.

Lin’s art awareness was largely developed by her parents while growing up in Philadelphia. She studied at the Moore College of Art in Philadelphia, and later transferred to Colorado State University in Fort Collins where she received a Bachelor’s Degree in Art Education, Printmaking, and Psychology.
Describing herself as a “displaced easterner”, with strong affections for the ocean, Lin lives in Denver with her Coloradoan husband and their son. She taught printmaking and drawing at Colorado Women’s College and prints at Atelier Intaglio, a women’s co-op studio on old South Gaylord in Denver.

“I enjoy engraving”, says Lin. “Very few people do. The results are like no other printmaking techniques.” She continues: “My work is very personal – an extension of myself. It’s an evolution; one piece triggers the idea for another. I just have to give myself time to integrate all of life’s experiences

Etching Definition:
Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio (incised) in the metal. In modern manufacturing, other chemicals may be used on other types of material. As a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of modern variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology, including circuit boards.

In traditional pure etching, a metal (usually copper, zinc or steel) plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with a pointed etching needlewhere he or she wants a line to appear in the finished piece, so exposing the bare metal. The échoppe, a tool with a slanted oval section, is also used for "swelling" lines. The plate is then dipped in a bath of acid, technically called the mordant (French for "biting") or etchant, or has acid washed over it. The acid "bites" into the metal (it converts metal into salt solution and hydrogen) to a depth depending on time and acid strength, leaving behind the drawing skillfully carved into the wax on the plate. The remaining ground is then cleaned off the plate. For first and renewed uses the plate is inked in any chosen non-corrosive ink all over and the surface ink drained and wiped clean, leaving ink in the etched forms.

The plate is then put through a high-pressure printing press together with a sheet of paper (often moistened to soften it). The paper picks up the ink from the etched lines, making a print. The process can be repeated many times; typically several hundred impressions (copies) could be printed before the plate shows much sign of wear. The work on the plate can be added to or repaired by re-waxing and further etching; such an etching (plate) may have been used in more than one state.

Etching has often been combined with other intaglio techniques such as engraving (e.g., Rembrandt) or aquatint (e.g., Francisco Goya). See less