Earthly contours seem to bake to warm and crusty orange in the sunlight. But when in shadow, this same topography appears fluid, more like a body of wind-rippled water at night. Eerily greenish auroras billow across boundaries. I like to imagine this as a conflation of a pagan icon from a Renaissance map with a data driven, aerial radar survey.
The vivid patinas of orange and green appeared spontaneously, without any treatment after etching. However, the etching fluid was already much used. I may never see this particular color effect again!
The dark blue resist film still there on this surface could be dissolved away to expose pure, shiny copper (see below). Other artists have advised me to leave this piece just as it is, to preserve the excitement of its strong contrasts.
When I had used exactly the same graphic image before, for the first time (below), copper surfaces that were actively etched by the chemicals took on a blackish cast, different to the orange and green. Because I had stripped off the blue resist film after etching, the lately-exposed bare copper slowly oxidized to a fetchingly iridescent sheen. The blob of blue in the center was a naive experiment with a patinating chemical.
This may display as a GIF animation. If not, here are the other angles:
Lines purposely etched into the copper allowed me to neatly fold the sheet with some slight angles and curves. Because of folding, the visual drama of this darker piece is truly revealed only under dynamic lighting. (It’s supposed to display here as a GIF animation.)
Both pieces are 12.4 x 19.4 cm.
All images copyright William James, 2016.