Rebecca Vincent

Rebecca Vincent, who was born in Lancashire, pursued Fine Art studies at Oxford and Newcastle Universities, ultimately becoming a professional artist with a focus on printmaking.

Rebecca’s landscape etchings have colours that are deep and glowing, as well as textures that are delicate. She employs various hand-printed marks to depict the patterns of fields, hills, and hedgerows. In the hands of Rebecca, the landscape goes through a process of stylisation, which makes the pattern of fields and hedgerows clearer, transforming it into an almost abstract arrangement of intersecting shapes.

Her distinctive landscape style can be achieved by incorporating vibrant colours and a diverse range of intriguing textures.

Production

Rebecca produces her etchings by using ferric chloride to bite one or two copper plates, which are then printed. She utilises different types of acrylic resist fluids that shield specific areas of the plate from undergoing a chemical reaction.

Techniques

Various techniques are employed to produce the lines, textures, and tones, and multiple bites are used on the plate to generate all the indentations. After etching, the plate undergoes manual inking with a maximum of 16 different colours. Each time the plate is printed, these are carefully rubbed in and wiped back. Like a mangle, the etching press transfers the ink onto damp paper with high pressure.

An edition, which consists of a number of nearly identical prints, is made, but each print is done individually by hand.

“Etching, as a medium, provides a plethora of mark-making possibilities that are truly remarkable.” I have the ability to understand the scenery by employing a suitable approach for each particular region: employing fine lines for the winter trees, creating even textures for the farmed land, and applying soft wash-like marks for the sky.

The etched marks, when printed, have a slightly raised quality and provide the precision and depth of tone that I desire.

Rebecca’s work is also influenced by the world of textiles, which includes the delightful patterns and textures that played a part in my early life. At first glance, it may appear that there is fabric or sewing involved in my work, but there is not.

‘I am creating etchings and monotypes by capturing impressions from textured wallpapers and fabrics. I employ a diverse selection of hand-printed patterns to communicate the patchwork-like appearance of fields, hills, and hedgerows. In order to expand the reach of my printmaking, I currently provide a variety of giclee prints and greetings cards of excellent quality, in addition to the hand-made prints’.