.How to make an etching
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The Art of making etchings. When a plate has been cut to size and made ready for use, its edges should be bevelled to a narrow angle for the protection of both the paper and the blankets. The plate (copper, zinc, steel) must be cleaned and all traces of grease removed, this is done using ammonia and chalk, the paste is rubbed evenly over the plate and rinsed in clean water. A 'ground' must now be rolled onto the plate in a smooth layer, this acts as an acid resistant barrier; it consists of asphaltum wax and resin mixed together. The plate is heated , the ground melted onto the surface and rolled to a thin even layer, next the plate must be 'smoked' with a lighted taper to darken the ground and toughen it. The design is drawn through the wax using a needle or other fine point, care being taken not to scratch the plate’s surface. Corrections are achieved by 'stopping out' with liquid ground any unwanted marks. The acid used in etching varies as a different metal is used; the most commonly used being nitric acid. The plate is lowered into the acid solution, the depth of bite being timed. A 1 minute bite will show a feint line when printed; my plates are often bitten to 10 or even 15 minutes. Variety of line tone is achieved by biting different parts of the design for different lengths of time. Once cleaned the plate is ready for proof printing.
The etching press. Removing the 1st print from the plate. The plate is polished with brasso to remove any traces of ground, next the plate is heated, whilst hot a stiff intaglio printing ink is rubbed into the fine lines, excess ink is removed with tarlatan, or 'mull' this skims over the surface and leaves a residue of ink still in the groves. The plate is then placed onto the etching press bed, damp handmade paper is placed over the entire plate, woollen blankets are now placed over the paper and the large wheel of the press is turned forcing the bed to move between two heavy metal rollers. The paper over the plate is squashed into the grooves; the ink is now transferred to the damp paper. The first proof is now ready for inspection. After proofing the next stage commences, namely Aquatint, the plate is de greased, and dried , I have a specially made aquatint box, which is basically a box with a shelf in it, underneath is a turning paddle which when turned creates a cloud of fine aquatint rosin in the box. The plate is placed face up on the shelf, the dust (rosin) then settles on the surface of the plate. Removed from the aquatint box the plate is gently heated underneath to melt the rosin to the surface. Each particle of rosin is acid resistant. The first step is to 'stop out' (with varnish) any areas that you want to remain white on the print, the plate is then immersed in the acid for a short period of time , often 5 seconds or less, then more stopping out occurs, then back in the acid for a further 5 seconds or more. Often a plate can be in and out of the acid bath 7 or 8 times to create the desired tonal qualities. After removal of the stopping out varnish (turps) and the rosin (meths) cleaning the 2nd proof is taken. Changes can be made to the 'tone' of certain areas by burnishing, this involves using various burins to flatten the plate ( so reducing the amount of ink held), then re proofing to see the result. If the desired effect has been achieved then printing of the whole edition commences. Each time a new print is required the whole process of printing must be undertaken, re-inking each time. After a 'run ' of 60 prints plus 6 artist's proof's, once completed, the plate is destroyed. Distinguishing marks on limited edition prints. At the bottom left hand side of an etching there will be found two numbers i.e. 2/60. This tells the viewer that this is the second print in an edition of 60. In the middle the title i.e. 'Love in the churchyard' and finally the artists signature indicating that the printmaker approves this particular print and so has signed it.
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