Using a combination of Edinburgh lift ground, Z-Acryl hard ground emulsion, and airbrushed aquatint this test will be an artistic exploration of the processes discovered in previous tests. The following test is the last part of plate development.
Date: December 1, 2009
Researcher’s Name: Megan Klazura
Plate Material: .032 Copper
Plate Size: 5 in x 6 in
Room Temperature: 71° Clear, Cold, Winter Day
I decreased the copper plate with Bon Ami and water made into a paste and towel dried. Applied another layer of Edinburgh Lift Ground consisting of 3 teaspoons of Windsor Newton artist masking fluid, 5 eraser tips of gouache, and half a teaspoon of warm water. I allowed the lift ground to air dry 20 minutes. I applied Z-Acryl hard ground emulsion to the plate with a foam brush air dried for 5 minutes and 25 minutes in the hotbox. The copper plate was placed in a bath of warm water after being hardened. I rubbed the ground off easily with gloved hands. I applied an aquatint in five passes to the copper plate with a Paashce airbrush set at a course setting. The aquatint was air dried for 5 minutes and placed in the hotbox for 20 minutes.
The plate was etched in a vertical etching tank of Ferric Chloride at 36° Baume.
Timed Application of Mordant
Removal of Grounds
The ground was removed using a stripper bath of Arm & Hammer Washing Soda and water (100 grams/1 liter).
After Bath Evaluation
The etch was successful.
The plate was inked with unmodified Graphic Chemical & Ink Co. Bone Black Etching Ink #514. The ink was carded onto the copper plate with mat board scraps and wiped with used tarlatan.
Paper Type: Magnani Pescia
Paper Soaking Time: 20 Minutes
Press Blanket Setup: Sizing Catcher and Pusher, 8.5 pressure, Small Takach Etching Press
Throughout this four part test the Edinburgh lift ground worked exceptionally well. Even with different textures that had been etched into the plate the lift ground created all the marks that I desired.