Victoria Lansford

 

 

Acid Etched Flourishing on Metal

To begin this distinctive look in copper (or brass) I use a pointed calligraphic nib and lacquer based India ink directly on the metal. The pointed nib allows me to achieve fine detail in intricate patterns with swells in the compound curves and leaf designs. The ink acts as a resist so when I place the metal in acid, the background its etched away, leaving the design raised.

 

Orient, vellum and copper book

Orient

Acid Etched Copper Clad Fine Silver

This technique is done by creating a mask on a sheet of bi-metal (2 thin sheets of different metals or alloys) and then etching the exposed area until the bottom layer of metal is revealed. The same process is used to create circuit boards and was translated and adapted for use on precious metals by Carol Webb of Santa Cruz, CA.

The drawing on the front of this amulet (pictured right) is from copper/fine silver bi-metal. I photocopied and reduced onto a sheet of Press and Peel transfer paper a pencil drawing I had done of a statue of the Pharaoh, Tutankhamun. When heated, the paper transfers the design to the copper side of the metal, which serves as a mask for areas not to be etched. I etched away all the exposed copper using ferric chloride, leaving only the copy of my drawing. After fabricating the amulet, I patinated the copper black to give greater contrast to the face.

Reliquary for Tranquility
  Reliquary for Eternity

 

 

 
   

 

 

 

 

 

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