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 part two of a four part 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 degreased the copper plate with Bon Ami and water made into a paste and towel dried. I painted the the Edinbrugh lift ground onto the plate. The lift 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 dry for one hour and applied Z-Acryl hardground emulsion with a foam brush across the plate’s surface and placed plate in hotbox for 25 minutes. After hardening, the copper plate was placed in a bath of warm water. The ground came off easily when rubbed with gloved hands. Aquatint was applied in five passes to the plate with an 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
The lift ground worked great over the previously etched lines.