DEVELOPMENT

Preliminary drawing on architecture paper, crayon and pencil.

This drawing was used to create the soft ground state of the etching. The architecture paper is placed over the copper plate and when drawn on top of, leaves an impression on the copper.

First state proof, soft ground.

Soft ground is an intaglio printmaking technique which involves the application of a wax 'ground' onto a copper plate. Marks are made into the ground and then etched in a solution of ferric chloride, also referred to as acid. The acid eats away the wax ground, leaving an incised line in the copper plate. The plate is then covered with a layer of oil-based ink which fills the lines incised in the copper so that when printed, leaves an impression.

Second state proof, white ground.

White ground is a partial acid resist made of a mixture of titanium dioxide, soap, and linseed oil The white ground is painted onto areas of the plate covered with an aquatint, a fine layer of rosin sprinkled evenly over the plate that when etched, has the ability to create tone. In the areas where the ground is more concentrated, it stops the acid from etching the aquatint. However, in the parts where the white ground is more sparse, the acid is able to seep in and create dark values. In this case, the plate was left in the acid for 5 minutes, creating a dark black organic speckling.

Final state B.A.T, spitbite aquatint.

Spitbite is a technique that involves painting acid directly onto a copper plate covered with an aquatint. It allows for the creation of tone in a controlled way.

B.A.T is an abbreviation for the printmaking term, bon á tirer, meaning 'good to pull.' It signifies the model for what the edition of the print should strive for.

B.A.T, white ink on black paper.

Printer's proof, print with chine collé

Chine collé is a method of adhering material into a print using plant-based glue like methyl cellulose. The back of the collage element is coated with methyl cellulose and placed onto the plate. The printing paper is placed over the plate and when ran through the press, the collage element sticks to the printmaking paper.