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Printmaking: Introduction

Intaglio Printing (Etching)

Recommended Reading: Part II Intaglio: pp87-170, Printmaking:History and Process. Donald

Saff/Deli Sacilotto, 1978 by Holt, Rinehart and Winston inc. ISBN-O-03-085663-9

Plate Preparation: For the most part you will be using a copper plate to create your etching(s). We also

use zinc in our shop.Plate preparation for both metals is identical. First polish the plate by using Brasso

and small felt. Pour a small amount of Brasso directly on the plate and polish in small circular motions until

the plate becomes shiny. Repeat this process two to three times. Polishing the plate in this manner

removes almost all oxidization and tiny scratches. Scratches that can be felt with a fingemail must be

removed with a three-edge scraper, bumisher and 3 Burnt Plate Oil.

When the plate is polished sufficiently, clean it with water and dish soap; rinse with water and dry with a

paper towel. Put clear (self-adhesive) shelf-paper on the back of the plate to protect it from contact with the

ferric chloride etch solution.

Applying Hard Grounds: After the plate has been backed with clear shelf paper or strapping tape, place

the plate on a piece of newsprint and load-up a foam brush with liquid hard ground. Apply an even coating of

ground directly on the plate. Avoid streaks and thick or uneven applications. Too thick of ground will become

brittle a flake or chip while trying to achieve delicate line work. If the Ground is uneven or thick remove the ground

outside in the woodchips by applying a small amount of mineral spirits and a removing the ground. After the

ground is removed wash the plate with dish soap, dry and attempt to re-apply the hard ground again.

NOTE: Use the ground that is marked MIX. This ground is actually a 50% mixture of liquid hard ground

and 50% liquid soft ground. Purchase a fresh foam brush when applying hard ground to your plate. A new

brush will increase the chances of a thinly and evenly applied ground.

Drawing: When the hard ground has dried at least twenty-four hours, you will be able to begin your drawing

on the plate. To do this you will need an etching needle or sharp instrument that is capable of removing the

hard ground down to the metal plate. If all of the ground is not removed, your line will bite unevenly or

perhaps not at all. The trick is to remove the ground sufficiently without actually gouging the metal of the

plate.

Transferring a Drawing: To transfer an original drawing to the plate it must first be made to the scale of the

plate. Then a piece of red iron oxide transfer paper is laid face down onto the grounded plate. Tape the

transfer paper to the table. Next place the drawing on top of the red iron oxide paper and tape it down as

well. Begin to gently trace over the drawing. Check your progress occasionally by lifting the red iron oxide

sheet. Be careful not to press too hard. Doing so could resuU in the removal of hard ground from the plate.

Red Iron Oxide Transfer Sheet: Place a piece of newsprint down on the table in the back room.

Place a second sheet of newsprint or transparent tracing paper on top of the original piece.

Wearing plastic gloves apply a thin coating of red iron oxide on the sheet of paper; Slightly dampen the

cotton cloth with alcohol or lacquer thinn9r and work in a circular motion until the sheet appears slightly

reddish in tone. Work near a vent and avoid breathing any fumes.

You only need a small amount of solvent and a small amount of red iron oxide to make this sheet work as a

transfer paper. Put any excess red iron oxide back in the white plastic container located in the cupboard

above the sink in the backroom. Save your transfer sheet. It can be used several times.

Line Work: After your transfer drawing is completed you may begin to remove the ground by following the

transfer image on the plate. Be careful that you are only removing the ground and not gouging the metal of

the plate. By using a variety of tools you can achieve a wide variety of marks and tones on the plate.

Experiment on a scrape plate.

Tonal Drawing: Tone can be achieved by a variety of techniques that include using linear methods such as

cross-hatching, circular marks or a pointillist approach. For the most part though we will be using an aquatint

technique that uses black lacquer spray paint as its catalyst.

Aquatint Application: Normally, you will complete all of your line work first, prior to applying aquatint tone

to your plate. This means that your line work will be completely etched. The ground will be removed from

your plate using the mineral spirits and wood chips located outside the rear of the shop. After the ground

has been removed frorq the plate's surface and in the etched lines wash the plate with dish soap and dry

sufficiently. Place the plate in a vertical or horizontal position in the spray booth located just outside the

back door located in the middle of the shop. Tum on the spray booth fan and beginning to lightly mist your

plate with a 30-40% covering of a light and even coat of black paint.

Too much paint is not a preferred state for your plate. It should not be solid black or uneven in appearance.

If the aquatint is uneven, remove the paint with mineral spirits and wood chips, wash Idry and repeat spray

paint application until it looks even.

Once you have an even coating applied to the plate let it dry twenty minutes or so. Then begin to stop-out

any areas on the plate that you know will be white in the image. Also stop-out the edges of the plate prior to

etching.

Etching the Plate: We will be using Ferric Chloride to etch our plates. This will be done in a vertical tank

located in the rear of the shop. Attach a six-inch piece of strapping tape on the back of your etching plate.

Wrap the top of the tape around the piece of wood that runs the length of the tank at the top and secure with

a clothespin. Be careful not to scratch or disturb other plates in the tank. When your timed etch is

completed. Remove your plate from the tank and be sure to wear rubber gloves. Rinse in cool water and

inspect the etched line. The depth of line work is checked by inserting your etching needle into the line and

rocking it back and forth to feel the depth of the ridge left by the etch. If the line is not deep enough re-insert

your plate back into the etch for additional time. In general a thirty to sixty-minute etch will produce a

thinlfine black line. You will need to experiment with etch durations to achieve the desired aesthetic effects

you are looking for.

Be careful not to get any of the etch solution on your skin or clothing, it will permanently stain any clothing it

comes in contact with. Avoid splashing if at all possible.

When etching aquatints refer to the tonal scale located in the shop. This tonal scale will give you a guide for

potential times for desired tonal effects. Remember this is only a guide and atmospheric conditions and age

of the etch can effect etch times. Experimentation and good record keeping are important to understanding

how to achieve a full range of tonal effects.

Ink Preparation: By adding a small amount of Easy-Wipe to your ink, you will be able to wipe your plate

easier. Makes sense! A small amount of #3 Burnt Plate Oil will have the same affect.

If the ink becomes too loose, "looses its tack" then add a small amount of magnesium carbonate powder to

the ink until the ink has a shorter tack.

Printing: You will be using two methods to wipe your plates. A rag wiping technique that uses a tarlatan

material to remove in from the plate's surface. Newsprint or phone book pages will be used as an

intermediate wiping technique and hand wiping may also be used as the final wiping technique.

Apply the etching ink directly to the plate using a piece of mat board (magic card). Taking care that all

edges are initially covered with ink. Remove the excess ink with the magic card. Make

a flat ball of tarlatan and begin to gently wipe the surface of the plate. Rotate the plate and Wipe outwards in

a circular manner towards the edges of the plate. Rotate the tarlatan occasionally to

locate a clean area on the material and continue Wiping and rotating the plate.

Once most of the ink is removed with the tarlatan , begin to use the quarter squares of the phonebook pages

until the plate is clean. As a final step you may choose to hand-wipe the plate to bring out the whites. When

the plate is finished, wipe the edges with a cotton rag until they are completely free of ink.