Etching
Ray Maseman. "St. Sebastian." Etching. 12 x 9".
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Shinji Ando. "Feel the Wind: Autumn." Multi-Plate Etching. 35 x 21"
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Etching is the process of using acids or other corrosive materials to bite the unprotected areas of a metal plate. The plate is covered with a waxy ground that resists acid. An etching needle or other tool is used to draw onto the plate, exposing the metal to be etched. These exposed areas are sunken into the plate by the acid. The plate is then saturated with ink and the surface is wiped leaving ink only in the recesses. The plate is sent through an etching press with damp paper which receives the ink and image. The process can be repeated to create an edition.
This process originated from goldsmiths and metal workers who would etch decorations onto metal cups, armor, and weapons. The leap from metalsmithing to printmaking came from Daniel Hopfer of Germany, around 1500. The process was improved by Jacques Callot (French) who advanced the materials and tools. Famous etchers were Rembrandt, Albrecht Dürer, William Blake, Goya, and James McNeill Whistler.
Aquatint
This effect of this method produces solid areas of tone. The plate has to be covered at one point with very fine particles (traditionally rosin, at New Grounds hardground is airbrushed onto the plate) so that the almost invisible openings between those particles can be etched. To the naked eye those tiny etched dots will appear as a gray tone. Shades of gray are achieved by altering the length of the etch, the longer the etch, the darker the tone will appear.
Softground
This method employs a ground which remains pliable for a period of time. Objects and textured materials can be pressed into the surface with high pressure. They will lift off the ground and expose the metal which then is etched just like a line drawing in etching. In another softground technique, also called the crayon or pencil manner, a piece of paper is placed over the ground and the artist then draws on the paper with a soft pencil. The pressure of the pencil strokes will cause the ground to stick to the paper thereby exposing the metal in those areas ready to be etched. Compared to the hardground drawing, this techniques produces a very soft line; however, the artist has to be able to complete the drawing within the limited amount of time that the ground remains soft.
Drypoint
In this techniques a needle is used to scratch directly in the metal plate creating a burr that yields a characteristically soft and velvety line in the final print. Since the burr wears down relatively fast, it will hold only for a limited number of impressions and therefore should be applied in the final working state of a plate.
Engraving
The image is produced by cutting a metal plate directly with a sharp, square or lozenge shaped engraving tool called a burin or graver. The engraved line is characterized by a sharp and flowing line – thinner where the burin cuts less of the metal, swelling to heavier and wider lines where the tool is pushed deeper into the metal. Tonalities are achieved by hatching, cross-hatching and stippling. The incised lines are inked and printed with heavy pressure. Engravings have been produced since the 14th century. It lost popularity with the development of etching, and today the process is almost entirely limited to the printing of currency and stamps.
This process originated from goldsmiths and metal workers who would etch decorations onto metal cups, armor, and weapons. The leap from metalsmithing to printmaking came from Daniel Hopfer of Germany, around 1500. The process was improved by Jacques Callot (French) who advanced the materials and tools. Famous etchers were Rembrandt, Albrecht Dürer, William Blake, Goya, and James McNeill Whistler.
Aquatint
This effect of this method produces solid areas of tone. The plate has to be covered at one point with very fine particles (traditionally rosin, at New Grounds hardground is airbrushed onto the plate) so that the almost invisible openings between those particles can be etched. To the naked eye those tiny etched dots will appear as a gray tone. Shades of gray are achieved by altering the length of the etch, the longer the etch, the darker the tone will appear.
Softground
This method employs a ground which remains pliable for a period of time. Objects and textured materials can be pressed into the surface with high pressure. They will lift off the ground and expose the metal which then is etched just like a line drawing in etching. In another softground technique, also called the crayon or pencil manner, a piece of paper is placed over the ground and the artist then draws on the paper with a soft pencil. The pressure of the pencil strokes will cause the ground to stick to the paper thereby exposing the metal in those areas ready to be etched. Compared to the hardground drawing, this techniques produces a very soft line; however, the artist has to be able to complete the drawing within the limited amount of time that the ground remains soft.
Drypoint
In this techniques a needle is used to scratch directly in the metal plate creating a burr that yields a characteristically soft and velvety line in the final print. Since the burr wears down relatively fast, it will hold only for a limited number of impressions and therefore should be applied in the final working state of a plate.
Engraving
The image is produced by cutting a metal plate directly with a sharp, square or lozenge shaped engraving tool called a burin or graver. The engraved line is characterized by a sharp and flowing line – thinner where the burin cuts less of the metal, swelling to heavier and wider lines where the tool is pushed deeper into the metal. Tonalities are achieved by hatching, cross-hatching and stippling. The incised lines are inked and printed with heavy pressure. Engravings have been produced since the 14th century. It lost popularity with the development of etching, and today the process is almost entirely limited to the printing of currency and stamps.