Once the plate has been rubbed substantially with the tarlatan, paper sheets are used to remove the remainder of the ink left on the plate’s surface. Occasionally changing to a fresh piece of tarlatan when the current one is dirty, the plate is rubbed until most of the ink has been removed from the surface. As the cloth is rubbed over the surface of the plate the ink is slowly removed. The use of the tarlatan cloth firstly helps push the ink into the line work. Once all the line-work has been completely covered by the ink it can start to be rubbed in with a tarlatan cloth. The ink is applied to the copper plate using small squares of cardboard. Firstly the ink is placed on a glass plate and manipulated with a spatula to loosen it and make it softer and easier to work with. The principal behind inking an intaglio, or etching plate is that the ink will sit in the groves of the plate but be polished and removed from the smooth surface of the plate. In this print the plate is inked in once colour which is black. This technique hardens and darkens the surface of the plate for etching. Using a multi-wicked candle the plate is suspended upside-down and exposed to the flame, but not the wick, of the lit candle. In this final stage of preparing the plate the surface of the copper is ‘smoked’ using a candle. The ground is spread evenly and thinly over the surface of the plate using a foam brush and allowed to dry. Ground is applied to the plate in this instructable using liquid hard ground from a can in the form of asphaltum. Once this is done comprehensively the plate is rinsed and dried. Degreasing the plate is done by mixing a solution of vinegar and whiting together and rubbing it all over the surface. When the plate is highly polished the surface is wiped clean and is ready to be degreased. Firstly the copper is polished with ‘brasso’ and a soft cotton cloth. To start with the copper plate must be in good condition and without scratches. Preparing the copper plate for etching is very important. The guide delivers a complete set of information for absolute beginners through to advanced practitioners and provides a full set of step-by-step processes, techniques, tools, recipes, troubleshooting practices, technical diagrams and a guide for labelling original prints, all over 45 + pages. This Etching Handbook is a comprehensive and practical outline of the etching process, designed for anyone interested in working with the medium. To learn more and download my comprehensive Etching Handbook please visit my website: The video is divided up into several stages, starting with ‘Initial sketches’ and concluding with ‘Hand colouring the Print’. The etching depicts ‘The Pied Cormorant’ and is part of a folio of etchings titled ‘The Birds of New Holland’. This Instructable and accompanying video demonstrate the various stages of creating a hand-coloured copper plate etching. The image is drawn on a copper plate then transferred onto paper using a printing press. First invented simply as a method of replicating an image, intaglio printmaking has evolved over centuries into an art form in it's own right. We think that you wil find Akua Intaglio the ideal combination of preformance, working properties, and safer printmaking.Copper plate etching is a traditional form of printmaking that delivers beautifully crisp line work and a wonderfully unique aesthetic. Beautiful colors range from earth tones to brilliant bright colors to powerful metalics. There are four blacks that deliver a range of warmth and transparency. Susan carefully selected the highest quality pigments in developing a beautiful palette of 27 colors. While the working properties make Akua Intaglio completly unique, printmakers love the beautiful preformance of theese inks. The soy-based formulation makes clean-up a breeze, with no harmful solvents required. In addition to convience, there is no wasted ink, you will be able to use the entire jar. When you are finished, you can clean up whenever you want - the ink will not dry on your equipment. you can leave your project for an hour, or a day or a week or more and come back and continue to work. It affords the ultimate in convience - allowing you to work on prints on your schedule. This delivers a range of meaningful benefits to printmakers. It dries through absorption into paper fibers. Susan Rostow created Akua Intaglio professional printmaking inks to deliver brilliant colors, intense blacks and unmatched working properties.Īkua Intaglio will not skin over in the jar or dry on the printmaking plate.
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