Drypoint Module
- 2. ART 170-001 Instructor: Kevin Daly Table of Contents IntroductiontoIntaglio: PastandPresent Excerpts fromF.Kiekeben,www.nontoxicprint.com PrintmakingTerms Review ofthe IntaglioProcess PrintingthePlate MakingaTemplateforPrinting HardGround(Acrylic,Ball,Liquid) SoftGround Aquatint HealthandSafety GeneralSafetyGuidelines SuggestedReading Unit 1Assignment 3
- 3. Intaglio Printmaking In etching a blank plate becomes the arena for creative events, for the penetration and alteration of the surface of the metal. This is done by various means such as scoring, scratching, scraping and of course as the term etching implies, by using corrosive chemicals to eat into the depth of the plate. The grooves, indentations, scars and scratches produced by etching turn the once flat plane of a plate into something resembling a landscape eroded by the elements - a structure beneath the surface commonly referred to as intaglio. The term intaglio is derived from the Latin in-tagliare meaning to cut into. The term etching is often used to describe all intaglio techniques. Strictly speaking, it should refer solely to processes that involve a corrosive action. The more correct generic term for the broader range of incisive processes is intaglio printmaking. Once a plate has been worked and is ready for printing it is covered with a generous deposit of ink. After wiping, just the deep recesses still hold significant amounts of ink. An etching is printed by laying the plate on the bed of an etching press, covering it with a sheet of damp paper and set of felt blankets, then running it through the two heavy steel rollers. The massive pressure exerted by the press pushes the paper firmly into the grooves of the plate where it picks up the ink. In this way, a reverse copy of the plate's 3D topography is produced as a two dimensional image consisting of lines, textures and tonal areas. The inking, wiping and printing of any intaglio plate is essentially the same, but the ways of creating the intaglio are many and various. Historically, etching plates have been made using three types of intaglio method: 1. The mechanical or cold techniquessuch as drypoint, engraving or mezzotint where the plate is physically shaped using specially designed metalworking tools.
- 4. 2. The etch, or hot techniques that include hard ground etching, aquatint or open bite where etchant resistant grounds are applied to the plate and exposed areas of metal are eroded by a mordant. 3. The less frequently used collagraph techniques where an intaglio plate is made by building up a relief surface rather than eroding it. 4. And now, the new photopolymer processes represent an important extension to this canon. A brief historical perspective The sculptural nature of etching finds its origins in the ornamental engraving of objects. Goldsmiths, tool and weapons makers and other craftsmen were proficient in decorating their wares using engraving techniques long before the age of mechanised printing. The first intaglio prints were reputed to have been taken from such objects. By the 16th Century the invention of the intaglio printing press enabled artists like Durer to take impressions from metal plates and intaglio work increasingly came to be seen as the means to create a matrix for the reproduction of linear drawings. The creation of an image on a plate using mordants and resistant grounds was well known to master engravers of this period but another century would pass before acid etching was widely adopted as the preferred means of producing the intaglio groove. Artists began to favour the way that etching allowed them to work much more quickly, spontaneously and with a greater range of marks than the hand held burin would permit. Rembrandt with his unrivalled intaglio work would firmly establish etching as a supreme medium of artistic expression capable of conjuring up exquisite imagery full of life, depth and vibrancy. The artistic excellence that Rembrandt achieved should, however, be appreciated in conjunction with his ceaseless exploration of new technical possibilities. He experimented with different mordants, etching tools, etch resistant materials and printmaking papers; he even designed his own wooden etching press. Any enthusiast for the art of intaglio printmaking would be well advised to visit Rembrandt's house in Amsterdam which gives a vivid impression of the master's working practice. Although Rembrandt's aesthetic genius has inspired generations of printmakers, his spirit of inventiveness seems to have been somewhat less influential. Many have been content with the end result - the fluid, linear drawing - without the urge to continue to explore the means of production. Over time, various mechanical stippling and mezzotinting methods were devised to give a degree of tonal quality to intaglio prints but it was not until Jean Baptiste Le Prince invented the technique of aquatint in the middle of the 18th Century that etching acquired a much more satisfactory painterly process. Le Prince discovered that a fine dust of rosin particles melted onto a metal plate became acid resistant, enabling the artist to set down areas of granular dots that would appear as luminous tones on the print. Many painters were intrigued by the new method. Francisco de Goya, in particular, made extensive use of the technique, taking it to levels of virtuosity that have rarely been equalled. The 18th Century also brought the introduction of the soft ground or vernis mous method, first used in France to emulate the textural qualities of crayon marks in an intaglio print. This further extension of the mark making vocabulary was quickly embraced by artists across Europe. By now, a sufficient arsenal of methods was available for commercial printmakers to be able to produce faithful intaglio reproductions of paintings. The photographicrevolution At the very beginnings of photography, in the early 19th Century, the photo sensitised etching plate was considered a serious contender to the silver-emulsion based systems that are in use to this day. Photo etching, commonly known as photogravure or helio gravure, as a viable artistic and industrial process
- 5. was devised by Karl Klic. His process is the foundation of rotational intaglio printing which is used for the production of high volume print runs such as glossy magazines. Sadly, the photo-reprographic potential of the intaglio medium was not exploited by most artists working in the first half of the 20th Century. With a few exceptions, rather than investigate new possibilities, most seemed content with proven and tested methods. In general intaglio printmakers were content to continue with the established methods rather than be at the forefront of new developments. A kind of conservatism started to prevail in both technical and pictorial terms and although many great 20th Century artists have produced interesting intaglio work, often under the auspices of master printers, the emphasis has been on commercial reproduction. Few artists used the medium as their main form of expression. Stanley William Hayter, with his rejuvenation of engraving and development of intaglio color printing is perhaps the one exception. Moving in illustrious circles that included Picasso and Miro he promoted a climate of sharing and accessible working practices in which no trade secrets were to be kept - an approach that stands as an example of good practice for today's printmaking community. In the 1960s, printmaking experienced something of a renaissance, but mainly in the new medium of screenprinting. This new method captured the spirit of the time as it offered the aesthetic of the emerging pop and media culture with ease of execution. Warhol's soup cans were screenprints, not etchings. Intaglio had lost touch with the avant-garde and was increasingly seen as traditionalist and craft orientated. An increasing awareness of environmental and health related issues didn't help the popularity of etching either. Artists and students were favouring safer, simpler, more modern-looking modes of printmaking. Etching today In the eighties I was fortunate to be taught by an enthusiast of intaglio printmaking. At the time etching was still in something of a general decline, not only in Germany but also across most of Europe. I discovered that the medium could be contemporary and to my delight found that it continued to flourish in the UK in an abundance of open access, editioning and college workshops. Thankfully, etching now seems to be shaking off its old fashioned image and many artists are once again investigating the technical possibilities and exciting new aesthetics in a new era of intaglio printmaking. Thanks to the pioneering efforts of artist-innovators such as Keith Howard, today a new intaglio system has become available. Acrylic Resist Etching introduces a whole new range of technical and creative possibilities whilst being much safer and easier to practice than traditional etching. In aesthetic and conceptual terms there is also a sense that intaglio printmaking can once again become an innovative and relevant medium. Notions of reproduction and simulation and digital technology are defining the current age and its image making. Printmaking has always enjoyed a natural affinity with the mechanics of each age. Matrix, copy, reproduction, encoding, simulation are all familiar terms and any etched metal plate is as much a repository of condensed information as a computer disk. The use of digital working methods in conjunction with the depth, tactility and sumptuous sensuality that is the special hallmark of intaglio printmaking offers a rich field of contemporary artistic investigation and production. PrintmakingTerms-Intaglio print An image that has been impressed on a support, usually paper, by a process capable of being repeated. Most printmaking techniques (a major exception being digital prints) require the previous design and manufacture of a printing surface. The five primary types of print techniques are relief, intaglio, planographic, screenprint, and digital.
- 6. aquatint An intaglio process by which tones may be achieved in an etching; used primarily for the creation of large areas of tonal shading. In aquatint, small grains of resin are sprinkled on the surface of the plate, which is then heated to affix the particles to the surface. When the plate is immersed in the acid bath, the resin protects its surface, so that the acid only “bites” the spaces between the grains. This leaves (depending on particle size) a fine or coarse network of lines and crevices which hold ink, creating an area of tone. When printed, the tonal effects are similar to a watercolor wash. artist’s proof In printmaking, these impressions are printed especially for the artist and excluded from the numbering of an edition, but are exactly like the editioned prints in every other respect. Usually appears as “A.P.” or “E.A.” bon à tirer A proof approved by the artist which establishes the standard for all other prints in the edition. Burr In printmaking, when a drypoint needle or other engraving tool is used to draw directly into a metal plate, small, fine pieces of metal are raised up on both sides of the scored line. This burr holds additional ink during the printing process and gives the lines a velvety or fuzzy texture. Burr is very delicate and consequently is easily worn down during the pressures of the printing process. Early pulls or impressions taken from such plates are characterized by rich burr. In the case of Old Master prints especially, the quantity and evidence of burr can sometimes be used as an aid in determining how early the impression was pulled. deckle edge The natural, untrimmed edge of handmade paper. drypoint A type of intaglio print in which lines or tones are scratched into the surface of a bare metal plate with a sharp metal point, sometimes tipped with a diamond. However, in contrast to engraving, the displaced copper is left in narrow furrows flanking the groove. Called “burr,” these areas catch and hold the printer’s ink, creating a halo of tone on the print. Burr wears out very quickly in the printing process so these tonal halos are found only on the earliest impressions. edition A number of printed images, or impressions, from the same master plate or block using the same ink colors and printing methods, as established by the artist and/or publisher. The process of numbering individual impressions from an edition only became widespread in the twentieth century. The impressions in such a “limited” edition are usually signed and numbered progressively, for instance 1/50, 2/50, etc., for a total edition of fifty impressions; after the total is reached, the plate or stone is destroyed. Often a few impressions will be printed outside the regular edition for the collaborators (artist, printer, publisher). Impressions printed during the development process to test the printing or try out color variations are called “proofs”. embossing A printmaking process used to create a raised surface or raised element, but printed without engraving An intaglio process in which a plate is marked or incised directly with a burin or other metalmarking tool. No acid is used in this process since the design is dug out by hand. An engraved line can range from very deep and wide, to lighter and thinner and is often characterized by a pointed end signaling the exit of the “v” shaped burin from the metal. An engraved plate is inked and printed in the same manner as other intaglio prints, in which the engraved lines are filled with ink and the surface is usually wiped clean. When put through a roller press under great pressure, the paper is forced into the engraved lines, transferring the ink and creating a slightly raised line in the printed impression, along with an embossed platemark, caused by the pressure of the edge of the metal printing plate. etching In contrast to engraving, in this type ofintaglio print the artist uses acid to cut into the plate. Lines and/or tonal areas of an image have been corroded, or “bitten”, into the surface of a metal plate by the action of a corrosive agent, called a mordant. Traditionally nitric acid has been used, but increasingly less toxic materials are being introduced, such as ferric chloride. A metal plate is first covered with an acid-resistant substance (ground) through which the image is drawn with a needle or other tool, exposing the bare metal. When immersed in the mordant, only those exposed areas are subject to its action. The metal plate is therefore “carved” or “etched” by the acid rather than by a tool directly in the metal. Recently, photopolymer etching has been developed, whereby a drawing, photograph, or digital image is transferred to a photosensitive polymer plate and processed into a
- 7. relief or intaglio printing plate. foul-biting In printmaking, when the acid-resistant ground on a metal plate does not keep the acid entirely out, irregularities can appear. When a plate is printed, they catch ink and appear as spots. Impression A single printed image (usually on paper) from a printing surface. Multiple impressions may be printed from the same etching plate, woodblock, lithographic stone, or other surface. Intaglio (from the Italian word Intagliare, to carve or incise) A category of printmaking in which the surface of a printing plate has been incised with a design by one or a mixture of techniques. In order to print the image, ink is applied and wiped across the surface of the plate, filling the recessed areas. Usually the excess ink is then cleaned off the unworked surface of the plate. When printed under great pressure, the paper is forced into those incised marks, thus picking up the ink and often creating ridges and raised areas in the final printed impression. Types of intaglio prints are engraving, etching, aquatint, andmezzotint. Monoprint – A print which has as its base an etching, lithograph or woodcut and which is then uniquely altered by monotype coloring, unique inking, or choices in paper color. Monotype– A type of print in which a drawing or painting executed on a flat, unworked printing plate or other surface, sometimes glass, which is then transferred to a sheet of paper through pressure. As most of the image is transferred to the printing process, only one strong impression can be taken, hence the term monotype (unique, single impression). Sometimes a second, weaker impression can also be printed from the plate. A monotype is distinct from amonoprint. Plate Mark– The imprint in the paper resulting from the edge of a metal plate being pushed into it during the pressure of the printing process. Plate Tone – A veil of ink intentionally left on the surface of the plate during printing which creates delicate areas of tone or shading. Printer’s Proofs – Impressions printed especially for the printer(s) and excluded from the numbering of an edition, but exactly like the editioned prints in every other respect. Usually appears as “P.P.” (You can giggle, I’ll allow it.) Progressive Proofs – In printmaking, a series of proofs taken to show each individual color plate and each combination of them culminating in the final, complete version. State– Any intermediate change made by the artist while creating an image fixed on a plate, stone, or block, as reflected in impressions or proofs printed during the development process of a printed image. The “final state” is the state from which editions are generally pulled, although some artists pull several impressions in each state. Trial Proof – An early proof in printmaking, often incorporating artist’s revisions and changes and generally not identical to the numbered, editioned prints. Also called Working Proof.
- 8. Jessica Lanham, Photoetching, Aquatint, and White Ground, 2008
- 9. An OverviewofIntaglio Processes Etching, Drypoint, Engraving, and Aquatint are some of the more common techniques of the Intaglio printmaking process. In each case, grooves or pits are made on a sheet of metal. These grooves or pits are then filled with ink, and the surface of the plate is polished clean. When the proof is pulled on an etching press, the image is transferred from the plate to a piece of paper. Many identical proofs can be pulled from a single plate, forming an edition. Many printmakers like to use a number of different techniques on the same plate. In this unit,you’ll be introduced to Drypoint and Etching.Below, I’ve put together some information for you to review regarding the intaglio printing process prior to printing. Drypoint Drypoint is very basic. The artist simply scratches the image onto the plate with the etching needle or stylus. No mordant is involved. It can be difficult to control the needle on the slick metal surface. The metal forms a ridge along one side of the scratched lines as the artist draws. This gives a fuzzy look to the lines when the plate is printed. Going through the press many times, the pressure of the roller on the press forces the ridgeback down into the grooves. The result is that the image gets paler and paler. Etching Etching uses a mordant (such as an acid or other corrosive liquid) to create deep lines in the sheet of metal. The artist applies a mordant resistant ground to the plate in a thin, even layer, and then draws the image on the plate. The stylus or etching needle removes the ground wherever the artist has drawn, exposing the metal. When the plate is immersed in the mordant, the metal is eaten away and the lines deepen. Lines etched for a long time are deeper and hold more ink than lines etched for a short time. This means that they print darker onto the paper. There are different kinds of grounds, both liquid and solid. They can give different looks to the line, or be used with different mordants. The Mordant Whistler used to make a little wax wall around the edge of his etching plate and pour acid directly onto the plate to etch his lines. To avoid spilling acids and breathing harmful fumes, stand straight up with your shoulders back when placing your plate in the acid tray. Assume the same posture when retrieving plates. Printingthe Plate: The paper for the print is made of cotton fibers, which give it enough strength to be forced down onto the plate under the pressure of the press, producing a rich image. First the paper is soaked in clean water, to give it flexibility. All intaglio prints are printed on an etching press. The press has a bed on which the inked plate is placed, face up. Excess water is removed from the paper, and the damp sheet is placed face down on the plate. Etching blankets are placed on top of the paper and plate, to distribute the pressure of the steel roller evenly. The plate is rolled through the press, at thousands of pounds of pressure per square inch. After printing, the print is air-dried. The paper dries more quickly than the ink. For each successive print the entire inking process has to be repeated.
- 11. GeneralInfo This is the most basic form of Intaglio printing. At MVCC we use zinc or steel, which is relatively inexpensive compared to Engraver’s copper. Zinc ordered from art supply stores comes with a mirror finish and a mordant-resistant background; Steel comes this way too, but you can buy plates from hardware stores. If you do so, you will need to make your own acid resistant backing with contact paper. If you have the need for a pristine polished background, you can polish your plate by hand using Putz Pomade™, which is a buffing compound. Usually we apply it and polish it with pieces of felt cut from old etching blankets. If you buy sheets fromthe hardware store, they must be flat! … If you have an idea for your print, you will need to remember to REVERSE the image, or it will print the wrong way round. This not only means that any writing or numbers will be back to front, but the visual flow of the piece will be different, and often not what you had envisioned. The easy way to reverse an image is to put it on the copy machine and follow the directions on the wall above the copier to make it print backwards. You can draw directly on to the plate with a Sharpie or a grease pencil. However, the lines made by your etching needle will be VERY much thinner than either of these. PrintingyourIntaglioPlate: 1. Decide on the size paper you will be using. Generally, allow for generous margins around the edge of the plate, usually equal on the top and sides, and approximately 1/2" greater on the bottom margin. (A" bleed print", however, is printed on a piece of paper smaller than the plate) 2. Measure paper for your edition and tear the edges, using a straight-edge, rather than cutting them. Initial the back of your paper so you know which is yours in the water bath! 3. Create a template by tracing around your plate on a piece of heavy paper, showing which way is "up", and tracing around where your printing paper will be laid down in relation to the plate. If you want accuracy this will involve measuring with a ruler. Cover this with a sheet of clear contact paper so that ink can be wiped off it. Be careful not to get bubbles or creases in the contact paper. Trim the template so that it will extend beyond the printing paper on all sides if the printing paper is laid on top of the template in the correct position. 4. Soak your printing paper - at least 20 minutes. Before you start to ink your plate, put the paper up on the plexiglass above the soaking tray and gently squeegee one time only. Leave it there while you ink your plate and it should be the right degree of dampness when you are ready to print (not shiny). 5. Ink the plate up making sure your ink is Etching ink. Use a "discard" to smear the ink across
- 12. the plate in all directions, being careful to fill all etched areas. 6. Take a 36" square tarlatan and "break it in" if it is new by tugging at it diagonally to the weave in both directions. Create a large pad and gently wipe the plate as follows: • for hard-ground and soft-ground, in a circular fashion • for Imagon, straight across and straight up and down Continue until the surface of the plate is fairly clean, using cleaner parts of the tarlatan as it picks up the ink, you may want to wipe the edges of the plate with a rag. Some people like to do a final brief and gentle wipe with telephone-book paper for a brighter background. 7. Place the template you made earlier on the center of the bed of the press. Put the plate on it, face up. Take your paper down from the plexi. It should appear matte and not shiny with moisture. Carefully place the paper over the plate according to the markings you have made on your template. Cover the printing paper with another, larger, sheet of clean newsprint. 8. Position the blankets over the template, plate and paper: Bed of Press 9. Crank the handle of the press so the roller passes over the plate and paper completely, taking care not to stop over the plate itself. 10. Pull back the blankets and remove your print, picking it up slowly from one corner, and place on racks to dry. 11. If you will not be printing another print immediately, clean the ink off your plate with spray vegetable oil and a rag. Clean up ink etc. the same way. Put all paper, templates, plates etc. away in your drawers and lockers, and keep the shop clean and tidy to maintain a good work environment. roller Pusher blanket (woven) Forming blanket (woven) Sizing absorber Backing sheet Printing paper Plate Plexiglass
- 13. Making a Template for use with printing your Edition: A print is the whole piece of paper, not just the area where the image is. Most intaglio prints show off the embossed mark that outlines the plate by having margins around the image. If you opt for margins, take some care with them. Traditionally, the sides should be the same width, and the bottom margin should be slightly greater than the top margin. Many printmakers opt for the top and sides to be the same width, and the bottom margin to be one half inch greater. To make sure your margins are all the same on your edition, and that they are straight, make a template. First measure your plate, then figure the best size for your paper. On a piece of smooth paper, which is larger than your printing paper, draw the outline of your plate, with an arrow showing which way is up on the image. Then work out exactly where the paper will go in regards to the plate, using a ruler and measuring carefully. Draw the outline of where the paper will be placed. Then use clear contact paper to cover this, making sure there are no wrinkles or creases in either sheet of paper, as they will emboss your print. Trim the template down so that none of the paper is exposed, but so it is still larger than your printing paper by at least an inch all the way around. The contact paper means that the template can be wiped clean after each print is pulled. For a bleed print you won't need a template, but you will need to make sure your paper is at least one half inch shorter than the plate in each direction, as it will expand slightly when soaked. You don't want to be able to see where the edge of the plate was on a bleed print. Sometimes this means planning your image to make sure you won't get unintended focal points on the edge of the image.
- 14. MinJung Kim, Hardground Etching and Chine Colle, 2007 HARD GROUND FOR ETCHING Hard ground is a resist used when we make an etching. It is a substance which, when hard and dry, is resistant to the mordant to be used. The coating on the plate is thin enough that it can be easily drawn through to expose the plate wherever lines are made. The back of the plate is protected with contact paper (you may want to do this first) so that when the plate is immersed in the mordant, only those areas where the drawing was made are exposed to the mordant and “etch”. All of these hard ground processes are good for linear work. For areas of solid blacks or greys,use the aquatint technique. You may etch yourimage on the plate using this method to see where to put an aquatint, like using a coloring book with outlines. Remember that if you want to achieve the effect of tones with this technique you will need to hatch, crosshatch or stipple. Leaving large areas of the plate open to the mordant causes “open biting”, which produces a mottled light grey value, as the ink is wiped out of it. Aquatint works because it leaves a pitted surface which holds the ink, unlike the uneven surface of open biting. Type Pros Cons Universal Etching Hard Ground/ Shop Asphaultum (liquid) Beautiful smooth surface for drawing Easy to see your lines Keeps foul biting to a minimum Tricky and messy to apply Easy to waste the product Ground has to be removed for proofing Asphaltum is toxic Ball Hard Ground Easy to see your drawing Easy to coat a larger plate Hotplate needed to apply it Foul biting is typical due
- 15. Economical to dust on the roller Ground has to be removed for proofing Asphaltum is toxic Z-Acryl Hard Ground Emulsion Non-toxic Can be left on for proofing and etching can be resumed Easy to take off with alcohol Hard to see your drawing After a while the mordant eats away the ground Difficult to remove in order to use additional techniques such as aquatint Procedure Etching: Using Graphic Chemical Liquid/Ball Hard Ground or Asphaltum : 1. If your plate doesn’t have a protective backing on it, cover the back of the plate with contact paper and trim right to the edge with a sharp Xacto or spraypaint the back of your plate. 2. Deoxidize the plate with salt and vinegar 3. Degrease the plate with alcohol and a paper towel 4. Place a sheet of newsprint on the hot plate, place your zinc plate on it, then pour or dab your ground on the zinc. Your hands will get dirty! Even though it is easy to waste, be generous enough with your ground so you can cover the plate on the first pour. It dries quickly and can get thick easily, which will crack and flake. 5. Prop up on a smaller object and dry horizontally ‘ General Directions fordrawing and etching the image, using any kind of hard or softground 1. When the plate is thoroughly dry, make your drawing with the etching needle. Remember to reverse the image, so that it will appear correctly when printed. 2. When finished with the drawing stage and ready to etch the plate, grab a pair of heavy duty gloves from the yellow fire cabinet in the washout room, put on eye protection, and make sure any loose clothing is secure behind an apron or tucked in. 3. Immerse your plate in the tray of Nitric Acid to etch it. You will probably want to make a small test plate the first few times that you do this to see how different times affect the width and darkness of the lines you make. 4. To create areas with more delicate lines, "stop out" lines before they have etched as deeply as lines which you want to be darker and richer. The deeper and wider the groove in the metal, the more ink it will hold and print, creating darker areas. Many different line weights can be obtained in your image by successive stopping out.Alternatively, you can add lines later in the etching process so that they are bitten for a shorter amount of time. 5. Always rinse the plate under running cool water when you take it out of the acid. Try to avoid drips. Stopping Out: If you have already etched the plate part way and want to prevent some areas from etching further, they can be covered up (“stopped out”)to prevent etching deeper when the plate is returned to the nitric acid. We’ll be stopping out ourplates with the purple/blue Z-Acryl Hardground emulsion found on the main printing counterabove our storage cabinets. 1. It is important that you de-oxidize your plate by immersing it in a bath of salt and vinegar before applying each application of stop out. Rinse off the de-oxidizing solution with water and dry your plate with paper towels or a hair dryer before applying the stop out.
- 16. 2. After rinsing your plate with water, check the depth of the etch with your fingernail, and look at it through a magnifying glass.You can proof it without removing the hardground. Cleaning the ground offthe plate: Asphaultumbased hardground,soft ground,and oil based ink can be removed from your plate using mineral spirits. Be sure to use gloves with it. Acrylic grounds can usually be removed with alcohol. Screen filler aquatint can be removed with a degreaser. Soft Ground: Softground,isan acidresistantcoatingmade of asphaltum, rosin,beeswax,andtallow.The additionof tallowkeepsthe groundfromdryingtoa hard surface.A soft groundline hasthe character of a pencil or crayon drawing.Anythingpressedintothe soft,waxyground--withatexture suchaslace or fingerprints- -will cause the groundtoyieldunderpressure,removing the groundandrevealingthe plate foretching. The longerthe softground plate isexposedtothe acid,the deeperandwiderthe line becomes. 1. Turn the hot-plate onwiththe temperature setat175 degrees.If the groundandrollerslide creatingpinholesandandunevenapplication,the plate isoverheated. 2. Place a piece of newspaperonthe hot-plate tokeepsoftgroundoff the surface of the hot-plate, and to facilitate yourabilitytoremove yourcopperplate easily.Place the filedplateonthe hot- plate. 3. Once the plate is warmed,use the brayerdedicatedforsoftgroundtospreadthe groundover the warmedplate.Rollingthe brayer/groundinone directioninitiallytospread.Avoidhitting the newspaperasyouapproach andleave the plate topreventlosinggroundoff the rollerand creatingstreaksinthe ground onthe plate. 4. Continue tospreadthe groundwiththe brayerwithgoal of achievinganevencoat--sans pinholes. 5. Graduallylighteningpressure onthe brayerwill spreadthe ground,reducingrollermarksand pinholes. 6. Once the ground iseven,setthe brayerwiththe rollerfacingupback inthe drawer.Grasp the newspaperondiagonal cornersandliftthe copperplate fromthe hotplate.Temporarilysetthe plate onthe concrete floor,orthe pressto facilitate coolingpriortoworkingonthe surface. NOTE: Store the softground toolssoas to keepthemclean.Brayerswiththe rollersurface up and the lidon the tinof softgroundwill preventdebrisfromattachingtothe softgroundand creatingmarkswhenapplyingthe groundtoyour plate. Drawing on the Soft Ground Plate: Soft pencil or crayon-like lines can be created by placing paper over the surface of the soft- ground plate, then drawing on the paper. 1. The quality of paper used between the plate and the drawing tool when has a definite impact on the soft ground image. Using a fine grained paper gives fine lines. Using a rough textured paper creates coarse lines.
- 17. 2. Hinge the paper to the plate by initially folding a crease an inch or so from the long edge of the paper. Apply masking tape tabs to the bottom edge of the paper fold. Supporting the large portion of the folded paper, slide the plate into the crease. Gently lift the plate and paper and burnish the tape to the back of the plate. Affixing the paper to the plate permits you to lift the paper to examine the soft ground drawing progress. 3. The pressure of your drawing tool, or anything thing that comes in contact with the paper will offset the ground on the paper, exposing the plate. Experiment with different densities of pencils, etc. to see the quality of line you achieve. Varying the pressure on your drawing instrument will change the amount of ground that attaches to the plate and the weight of the line. 4. The use of a drawing bridge, a strip of wood supported by blocks on each end, can be used for a more pristine approach to the soft ground. The bridge supports the hand so nothing but the pencil tip will press against the paper. Transferring a Texture into the Soft ground: To imprint textures into the surface of the soft ground you can use any thin, flat material (gauze, dry foliage, lace, fabric). Textures can be imprinted into the soft ground by hand burnishing, by disturbing the soft ground with fingertips, brushes, etc., or by impressing a texture across the surface of the plate using the printing press. If using the press to transfer a texture into the soft ground, prepare your material then use the following steps: 1. Lighten pressure on the press about 1/2 - 1 turn less (counter clockwise) than for normal printing. 2. Set up the press as for printing. 3. Place the cooled soft ground on the press bed 4. Arrange the material you wish to imprint in the soft ground on the surface of the plate. 5. Cover the material and plate with a piece of plastic or wax paper larger than the plate. 6. Cover the above with the rubber printing blanket instead of the usual set of felts. 7. Run the plate etc. through the press. The pressure should be relatively light. 8. Remove everything and return the pressure back to normal. 9. Stop out areas of the plate which you do not wish to carry the soft ground texture with hard ground, or an alcohol based shellac stop out. Allow the stop out to dry. 10. See above procedure for etching any ground. TIP: Soft ground areas stopped out prior to any etching need to be carefully considered for their shape and edge quality as they will be brighter than the etched soft ground areas of the plate. Tonal areas can be achieved by etching the plate in stages. Immerse the plate in ferric chloride and expose for the lightest etch. Remove the plate from the etching solution and rinse. Once the plate is dry block out the areas you wish to preserve as etched. Immerse the plate in the ferric chloride again and continue to etch then progressives block out areas until the entire etching process is complete. Aquatint
- 18. Thisprocessenablesyoutocreate a wide range of tonal areason your plate.Dependingonthe wayyou applythe aquatint,theymaybe flattone,or graduated tone.Stencilscanbe usedto define shapesor maskout areas of the plate.You can alsostop outarea of yourplate. Aquatintscanbe usedas a sole meansof creatingan intaglioprint,buttheyare most oftencombinedwithline etchingsand softgrounds toadd value andrichnesstoan image.If yourplate has alreadybeenetched,itwill still needtobe de-oxidized We’ll be usinga new technique to apply our aquatints usinga screen filler solution in an airbrush.Thescreen filler may be diluted with water. The greater the dilution,the finer the aquatint.The force of the compressor (PSI) may also causegrain of the aquatintto vary.A dilution to startwith is 70% Screen Filler to 30% Water. Procedure: Set up a plate and a white card andspray them at the same time! Repeat the procedure each time you do an aquatint. 1. Remove all grease andoxidationfromthe plates(Dawn;Salt&Vinegar),andrinse withwater. Dry the platesimmediately,andcovertheirbackswithcontactpaper to protectfromthe nitric acid bath 2. If there is anyarea youwishto preserve asbrightwhite (orpapercolor) thisisthe time to stopit out withscreenfillerorZ-Acryl onyourplate. 3. Usingthe airbrush,applythe ScreenFiller(appropriatelydiluted) toyourimage onthe plate, and inequal amountstoa testplate.Rememberthatthe screenfillerisgoingtopreventthe plate frometching:itisthe minute areasof openplate between the dropletsof screenfillerthat will etchandproduce yourtonalities.Therefore:more screenfillerproducesalightervalue than lessscreenfiller.Use amagnifyingglasstocheckfor coverage,andaimfor 50% coverage of the plate - in otherwordsthe areas betweenthe dropsof screenfillershouldbe aboutthe same size as the dropsthemselves. 4. Stencilsmaybe usedtoblockout areas youwishto preserve,whethertheyare sprayedoropen. However,if youwishtokeepsome areaswhite youwill needtocoverthose areascompletely withscreenfillerbefore etchingthe plate.Tryusingalithocrayonif you wanta softereffectora crayon-like white line. 5. ScreenFillerdriesquicklyandwillclogthe airbrush.If youare not activelyspraying,the airbrush shouldbe submergedinanammonia/watersolution. After you have finished,itneeds to be cleanedout thoroughlyand carefully. If this isnot done it causes problemsfor everyone inthe studio who wants to create an aquatint. 6. Etch the testplate,stoppingoutatsteppedtime intervals.The shorterthe etch,the lighterthe value of the final tone.The longerthe etch,the darkerthe value.**The strengthof the etchant will vary,sountil youare experiencedenoughtojudge the appearance of the printedplateby examiningthe depthof the bite underamagnifyingglass,thisisanimportantstep.Use screen fillerappliedwithabrushtostop outthe actionof the etchas follows: a. remove plate fromferricchloride b. rinse THOROUGHLY withwater c. Immerse indeoxidizingsolution(salt&vinegar) forseveral minutes d. rinse off saltand vinegarwithwater e. dry plate withhairdryer f. applyscreenfillerwithabrushto stop actionof ferricchloride onspecific areasof yourimage g. dry plate (hairdryer) andre-etch.Repeatentireprocess(stepsi - vii) as manytimesas isnecessary.
- 19. 7. Remove the screenfillerfromthe testplate withanammonia&water solutionandproof it. Label the proof according to the total time eacharea has beeninthe etchant.Proceedtoetch the image on yourotherplate accordingto the timesinthe ferricchloride asnecessary foreach appropriate value.Take the plate outof the ferricchloride andstopout areasas theyhave been etchedforthe right amountof time.(You'll needtorinse off the plate,and deoxidizeinSALT& VINEGAR,dryit,applyscreenfillerwithabrushandletthat dry too before etchingeachstep further). Once you are skilledwiththe airbrushyoumaybe able tocreate an image whichonlyrequiresasingle time inthe etchantby varyingvalue withthe flow of screenfillerfromthe airbrushontothe plate. Obviously,itishelpful toknowhowtouse an airbrushto use thistechnique.Thisdoestake practice. Use watersoluble inkandcreate imagesinyoursketchbookforpractice before youstartona plate. Special Effects: If you wantto be an intagliorockstar: o Dissolve some of the sprayedscreenfillerwithwaterwhenwet,orawater/ammonia solutionwhendry. o Use the lithocrayonfor stoppingoutoverthe sprayedscreenfiller.Itgivesthe plate a nice toothto draw on. o Draw on a copperplate witha wax crayon. Coatit withFuture.Whenthe future isdry, run the plate underhotwaterand rub at the crayonuntil itliftsthe future up.Then spray withscreenfillerfora"liftground"effect(strongblackcrayon-like marks). o Experimentwithothertechniquesandmaterialsincombinationwiththisprocessand share the resultswiththe class. Health and Safety in thePrintmakingStudio We have made great progress in reducing the numbers and amount of toxic products used in printmaking studios over the last few years. However, printmaking students should understand that there are health risks involved in some of the materials still used and stored in the printmaking studio. Some of the toxic substances which are used include: acids: nitric, phosphoric, hydrochloric and acetic solvents: paint thinner, denatured alcohol, furniture stripper, chlorine bleach others: lye, ammonia, photoemulsion These, as well as some other items used in the studio are harmful to the body, either in terms of the fumes they emit or in terms of skin contact. Some are harmfulin both ways. We would encourage you to buy rubber gloves and use them. Remember that products used in one class may linger in the atmosphere of the room while a different class is in session. Should you feel that your health is being adversely affected by proximity to any of these substances; it would be advisable to drop the class. Handle all chemicals and solvents with great care, including putting flammables away in the yellow fire-proof cabinet after use. Please follow these basic shop rules: Wipe up any spills immediately: Flammable solvents (e.g., mineral spirits, alcohol): wipe up small quantities with paper towels and place them in red triangular cans
- 20. Acids: wear rubber gloves Water: Put down newspapers or corrugated cardboard. Mop up as soon as possible, or seek out custodian. Area around screenwashing sink must not be allowed to get wet. GENERAL SAFETY PROCEDURES YOU MUST....... 1. WEAR acid/solvent resistant gloves like Nitrile when handling acids, cleaning materials, all solvents, emulsion, developers, etc. Consider using disposable surgical gloves for better dexterity. Many solvents compromise latex. 2. WEAR safety goggles when handling acids or using tools or machinery such as the Dremel tools. 3. LABEL all bottles and cans with the names of materials to be stored in them before they are filled. 4. NEVER attempt to smell or taste liquids. Give them to the instructor to test or discard. 5. DO NOT leave solvents in open containers. 6. DO NOT leave rags drenched with solvents or oils lying around. Throw them into the appropriate red covered safety containers immediately after use. 7. WEAR an approved dust mask such as 3M 8710 when sanding or applying talc or Rosin powders. Keep the container close to the surface you are going to dust; STAY OUT of the direction of the air current, and DO NOT use around other students who are not properly protected. INSIST they leave the area or put on their dust masks. 8. ALWAYS wash your hands or other body parts with generous amounts of water, after coming into contact with acids, for 15 MINUTES. If you get acid or other caustic materials in your eyes flush them with copious amounts of water for 15 MINUTES and seek the attention of a physician immediately. 9. WASH all surfaces contaminated with acid thoroughly. ACIDS ARE VERY CORROSIVE...USE THEM WITH EXTREME CAUTION. 10. ALWAYS thoroughly wash your hands or any part of your skin that contacts solvents using generous amounts of soap and rinse thoroughly with lots of water. 11. ALWAYS have the general exhaust or local exhaust systems on when using acids, using emulsion, ANY solvent or other toxic materials that emit vapors/fumes. -Children are not allowed in the printmaking studio for their own safety. -Shut the doors when you leave and check that they are locked. Not only will this discourage theft, but it is a good fire and safety policy. It is not a good idea for people with no background in printmaking to visit you while you are working in the studio. Not only may they inadvertently interfere with equipment or other peoples’ works-in progress, but they are generally unaware of the nature of some of the volatile substances in the studio. -Report all accidents to lab aides, security, or I. -Fire Extinguishers are located next to the door leading to the washout room.
- 21. Suggested Reading: Fred Hagstrom "Has Printmaking Contributed to its Own Isolation?", Artist's Proof (Print Consortium), Vol. 4, no. 2, 1990. Walter Benjamin "The Work of Art in the Age of Mechanical Reproduction", from Illuminations, 1955, pp. 219-254. Charles Cohan "The Net of Irrationality: The Variant Matrix and the Tyranny of the Edition," Contemporary Impressions, Fall 1993, pp. 9-11. Ruth Weisberg "Syntax of the Print: A Search for Aesthetic Content", Tamarind Technical Papers, Volume 9, Fall 1986, pp. 52-60. Ruth Weisberg "The Absent Discourse: Critical Theories and Printmaking", Tamarind Papers, Vol. 13, 1990, pp. 8-10. Hugh Merrill "Post-Print: Staking Claim to the Territory", Contemporary Impressions (American Print Alliance) Vol. I, no. 1, Spring 1993, pp.7-9. Unit 2 Assignment 1: Drypoint Intaglioprintsare typicallyreferredtoasetchings. An‘etching‘isanimpressionof adesignona metal plate.Itis made as follows:A smoothmetal plate iscoveredwithalayerof ground - a mixture of wax,
- 22. rosinand asphalt.A designismade inthe groundwitha sharpneedle.Where the linesare drawnthe metal isrevealed.The plate isthendippedintoanacidbath to allow the exposedareastobe bitten away,or etched.Thistransfersthe drawingintothe metal.Wheninkiswipedoverthe plate,the lines fill up.Inthe printingpressthe inkistransferredontothe paper. (definitionfromRijksmuseum) Drypointisnot an etchingprocess,butratheran incising. The processof incisingcreatesa burr,or a raisedroughedge to the lines onanintaglioplate. Drypointstendtolookblurrierandare more fragile than etchingsorengravings,buthave abeautiful velvetytexturetothem. Directions Studentsmustcreate a seriesof 3 editions(of 3prints each) exhibitinganunderstandingof Drypoint. Studentsshouldemphasizethe buildupof value,volume,anddepththroughthe use of line intheir prints.Note:Editionsmustbe printedonsoakedIntaglio-appropriate paper(yourthickerPrintmaking pads.) Note:In additiontoprinting requirements,studentsmustmeetaconceptual requirement.The print musthave some componentthattieseacheditiontothe previousone- bridge agapbetweenthe three to forma small andcohesive bodyof work.A significantportionof thisgrade will assesshow each studentcreatescohesionbetweenhisorher editions. You can do thisby makingall 3 imagesPortraits,tell asequential storywiththe images,linkthem psychologically,etc. Grading Criteria Students will be awardedpoints in 3 categories, Design, Concept, and Technical. Additional points may be awardedupon instructor discretion. In order to receive full points for this assignment, your submissions must adhere to the following guidelines in each section Concept Points: Student has designed a print that either is consistent w ith or that cohesively links his/her other drypoint editions w ith one another Design Points: Student has designed a print that w orkswellfor this media. Design fills picture plane and the composition is sound. Print makes good use of line, value, and implies depth and/or volume. Print w as designed in stages (posted weekly updates.) Technical Points: Student has created 3 editions of at least three prints Incisions are carefully done. Application of ink is even and consistent. Proofs w ere provided to document revisions Paper has been kept clean, free of folds, tears, or smudges. Margins --equalon tops and sides of print w ith larger margin on the bottom for signature and edition number. Margins are clean. Prints are signed in pencil and include the print/edition numbers, title (optional), artist’s signature and year print w as created--elements are positioned correctly. Grade points will be assignedsomewhataccordingly to the below grade scale. Keepinmind that specific criteria will vary, but keepthe following basic considerations andmy ability to use discretioninmind: AA++ AA BB CC DD FF 110000 9900 8800 7700 6600 5500 4400 3300 2200 1100 00
- 23. Reserved for EXCEPTIONAL work showing insight, innovation, application and originality, beyond basic requirements. May include assignments revealing pronounced growth. Meets all required criteria, even with a few minor mistakes. Work is well- executed and cleanly presented. Work has one major flaw (or few minor ones). Well executed, but little attention to creativity or originality. Work has several major flaws, i.e. sloppy or poorly presented, poor quality in meeting listed requirements. Failure to meetmajority oflistedgoals and requirements. Poorly produced work, presented in a sloppy manner. Zeros are given to assignments that are not turned in on time and for missed critiques. RReemmeemmbbeerr:: PPllaaggiiaarriissmm,, llaacckk ooff ttiimmeellyy ppoossttss,, aanndd ootthheerr ffaaccttoorrss mmaayy aaffffeecctt yyoouurr ggrraaddeess