- the image is incised into the plate, which is then covered with ink and the uncut surface wiped clean, before the paper is pressed into the image area to pick up the ink.
Dry point
In dry point, the artist "draws" directly on a copper plate with a sharp stylus. No etching is involved. The point of the stylus creates a "burr" of copper on either side as it is scored through the metal. In the printing process, the burr holds additional ink, giving the finished print a velvety richness unique to this method.
(http://www.fitch-febvrel.com/drypoint.html)
Etching
In etching, the artist covers a metal plate (usually copper) with a resinous substance (or ground) that is acid-resistant. The artist then "draws" on the ground with a sharp needle. Wherever the needle is applied the ground is removed, so that in an acid bath those exposed lines are eaten away, or etched. The plate is then inked and wiped, leaving ink in the grooves created by the acid. When the plate is placed on damp paper and put through the printing press, the paper is forced into the inked grooves. For each print in an edition, the plate must be re-inked and wiped.
(http://www.fitch-febvrel.com/etching.html)
Etching Registration
Using a clear mylar or acetate
Position plate on mylar and trace. Remember the mylar will be placed Sharpie side down on the press bed so your measurements will reverse- this is important if you are chosing not to center your plate.
Xerox Transfer
- Clean and Degrease a new plate
- Set the press fairly tight
- Place the plate on the press bed
- Place a photo copy or laser print face down and saturate the entire back with wintergreen oil
- Cover the plate and copy with newsprint as you would normally do
- Place the balnkets down and run the press
- Peel corner up and check the transfer. If it does not look dark enough try to tighten the pressure and run ith through again
Silk Aquatint
Silk Aquatint or Silk Collagraph is a non-acid method of making a print plate where the image is created by painting with whitened acrylic medium on a black silk surface backed with plastic. It produces a variety of tones & textures. The silk aquatint plate-making method is intaglio printed through an etching press and can last for over one-hundred impressions.Drawing, mark making and texture through woodcut and linocut techniques
Collagraph
An opportunity to explore both collage and printmaking. In this intensive one-day workshop, participants will explore the techniques of collaging textural elements onto boards; Experiment with both intaglio and relief printing. Work will culminate in learning to pull prints from an etching press.
SUPPLIES
3-in-1 oil
Ballpoint pen
Blotters
Brasso (copper polish)
Brushes (assorted sizes)
Burnisher
Contact paper
Copper etching plates (16 or 18 gauge)
Cork backed ruler (at least 18”)
Etching ink- (Charbonnel black 55981, 55985, R.S.R. is recommended)
Etching needle/ scribe
Flat file
Foam brushes
Hand cleaner
Magnifying glass, jeweler’s loupe
Masking tape/ Artist’s tape (1 roll)
Mylar or acetate sheet for registration
Newsprint pad (18” x 24”)
Opaque ink for film or acetate (Rapidograph)
Palette knife
Paper towels (only Bounty!)
Pencils and erasers
Photo etching plate (to be discussed)
Plastic scrapers/ chips/ palette knives (optional)
Printmaking paper (usually 22”x30”) Do not store your papers rolled up!
Suggested:
Hahnemuhle Copperplate
Pescia
Rives BFK
Somerset Book
Somerset Satin
Somerset Velvet
Suggested for chine colle: (natural-fiber papers)
Mulberry
Gampi Torinoko
Protective gloves (rubber or latex)
Q-tips
Respirator (optional)
Roulette (optional)
Saral transfer paper
Scotch tape (1 roll)
Scraper (optional)
Sharpie markers
Shop apron (optional)
Shop rags (optional)
Solar etching plate (to be discussed)
Sketchbook
Steel wool- (superfine #0000) and sandpaper
Transparencies (to be discussed)
Yellow sketch paper (roll)
X-acto knife and blades
Dry point
Edition of 5
Hard ground
Edition of 5
Soft ground
Edition of 5
Aquatint
Edition of 5
Color Techniques:
A la poupee
Chine colle
Chine-collé
Chine-collé roughly translates from French; chine meaning tissue and collé meaning glue or paste. This is because thin tissue paper, originally imported from China, India and Japan was used in the process. These delicate materials were very weak, therefore printers bonded them to the stronger Western plate paper to increase integrity. This method of fusing the two surfaces together varies among printmakers.
Many printers use chine-collé to introduce color and texture using a variety of lightweight papers into an etching. Paper that is most compatible with general etching papers should be good quality and made of natural-fiber papers with some degree of lightfastness. In this process, chine-collé papers are cut or torn into desired shapes, then dampened between blotters until uniformly moist. A printing paper used for the etching is then blotted to remove excess water. The chine-collé papers are then brushed with a coating of paste on one side and placed on top of the inked plate in their desired locations, paste side up.
The chine-collé papers adhere to the plate enough to remain undisturbed when the dampened printing paper is placed on top. The pressure from the bed laminates both the chine-collé paper and the etching paper. The ink from the plate prints on top of the chine-collé papers, creating some interesting and unusual effects with lines, tones, and values.
Originally printers only used chine-collé as a mounting technique, but it has been used by contemporary artists as a collage technique. The pressure of the press usually gives collaged materials a flat seamless look, and the archival bond created by wheat paste can help to extend the life of non-archival materials (magazine clippings, and other ephemera commonly used in collage).
Surface roll
Choose any plate to print using each color technique. You will have 1 print inked a la poupee, 1 chine colle, and 1 surface roll.
ALTERNATIVE TECHNIQUES AND ACID RESISTS
Lift Ground
Spitbite
Lithocrayon
Photo Techniques
Zerox Transfer
Photo Etching
Solar Plate Etching
Silkscreen Stencil
Multiple Plate Printing
You must use a minimum of two plates. Create a layered image or montage using any of the techniques learned thus far. Edition of 5 due, may be varied
Collaborative book project
Exchange Folio
Theme: Fantasy/Mythology/Legends
Plate size: 8”x10”
Print size: 11”x 14”
Edition of 12 prints due
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