ETCHING
The etching process dates from the 16th century, Albrecht Durer and his contemporaries utilised this process as a beginning of their major works. Hand drawn images and no photographic aids are used. The artist draws through a resin resist, which is impervious to acid, onto a metal substrate such as copper, zinc or steel with an etching needle. The plate is then immersed in acid so that it is etched along the incised lines. This etched linear drawing provides the foundation for all plates. The plate is then inked up and printed to test the state of the etching. The plate may under go several more dips into the etching mordant as the image or design is worked on and is developed further. Each time the image is etched it is hand printed on heavy acid-free paper using a 150 year old printing press.
AQUATINT
Another intaglio process using acid, in which the plate is carefully and evenly covered with a powdered resin, heated so that each particle of dust becomes crystallised and adheres firmly to the plate. The particles leave small exposed sections of the plate, which are then bitten by the mordant when immersed. Through a series of resin treatments delicate gradations of tone can be produced. The aquatint is characterised by a fine or coarse grainy texture of tones.
* collophany was once used, but proved to be carsinagenic, a tree sap resin is now used, but extreme care must be taken as this is such a fine powder, health and safety risks means a pp3 facial mask should be worn
THE PROCESS
The Metal plate is prepared by cleaning it to remove grease, and a hard ground is applied, a layer of soot from tapper candles is skilfully applied to the surface of the hard ground, this gives the surface a harder shell and creates more contrast with the metal underneath. This surface is worked into using an etchers needle.
Taking care not to scratch the surface of the metal, the hard ground is removed to expose the metal underneath, which will be attacked by the etching mordant and thus making the intaglio lines.
The plate is removed from the etching solution after a period of time, it is rinsed well and the protective ground removed. The plate can be inked and a state proof is pulled to see what is on the plate.
INKING UP THE PLATE
The ink having been worked with a palette knife to condition and ensure the binders are well mixed is dragged across the surface of the plate, a wad of old used scrim is used to push the ink into the etched lines, a clean scrim is used to wipe the ink from the surface and the image will begin to reveal itself on the plate.
Paper is prepared by soaking it for an hour and blotted well on sheets of blotting paper or a towel. The paper needs to be damp and any excess moisture should be blotted away. The paper is laid over the plate on the bed of the printing press, a piece of tissue is placed over the paper and then the press blankets are laid over the top.
The bed with three blankets, the paper and the inked up plate is slowly passed under the rollers.
A Print straight off the press.
