Drawing on to copper plates. I have to admit when I started art school (many moons ago) I had no idea what printmaking was. I'm finding it seems to be a common question when I tell people I am taking a print making class. (No, photocopies and Giclee prints do not count, in this case.) Printmaking is a process (or rather many processes) of making multiple works of art from one image. Each print is considered an original and not a "copy," as each print is hand done. And a lot of work, might I add. The term Printmaking covers tons of different processes; Woodblock and linoleum cut, lithography, engraving, etching aquatint, and so on. When I was attending ACAD, I took a screen printing class, and I've dabbled a little in lino cut prints on my own, but this class is opening whole new doors to art making. We are primarily covering Intaglio printing processes, where the ink is applied beneath the original surface, link in an etched line. So far we have covered Drypoint, which was strangly addictive, despite my aching arm. Drypoint is drawing (and scratching and digging) into a copper plate with a sharp tool, applying ink into the lines, carefully rubbing off the ink the surface of the plate, and then putting it through the press with pre-soaked paper. Pull up the print and Voila! Now do it again. And again, until you get and edition of identical prints. Not as easy at it sounds. Since the plate is inked each time my hand, we often have to pull a wholotta prints to get a few that match perfectly.
Yesterday we learned about acid etching, which is WAY easier on the ol' carpal tunnel elbow. After cutting, filing, polishing, and de-greasing the copper plate, we covered it in a "hard ground" made of ashphaltum and bees wax. Now drawing onto the plate only required drawing through the hard ground layer, and putting the plate into a bath of Ferric Chloride acid to let the acid eat away the exposed lines. Fun!
I am busy preparing my plates to be etched and printed next week, and can't wait to get back into the studio!
Yesterday we learned about acid etching, which is WAY easier on the ol' carpal tunnel elbow. After cutting, filing, polishing, and de-greasing the copper plate, we covered it in a "hard ground" made of ashphaltum and bees wax. Now drawing onto the plate only required drawing through the hard ground layer, and putting the plate into a bath of Ferric Chloride acid to let the acid eat away the exposed lines. Fun!
I am busy preparing my plates to be etched and printed next week, and can't wait to get back into the studio!
My edition of drypoint prints.
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