Step 01: Copper Plate Prep
Step 02: De-greasing Copper Plate
Step 03: Hard Ground
Step 04: Transfering Drawing
Step 05: Drawing Through Hard Ground
Step 06: Progressive Hard Ground
Step 07: Cleaning Hard Ground Off Plate
Step 08: Wiping Intaglio Plate
Remember that you are just trying to wipe the ink off the surface of the plate - avoid over scrubbing. Take your time and gently remove it with the tarlatan in sharp fast little swirls.
Step 09: Setting Up Registration Matrix
Step 10: Blotting Paper
Step 12: Oil Based Ink Clean Up
Step 13: Intaglio Tool Sharpening
Step 14: Dry Techniques
Step 15: Printing Dry Techniques
Step 16: Scraping and Burnishing A Plate
Step 17: Aquatint Application
Step 18: Plate to Plate Transfer For Multi-Color Printing
Step 19: Aquatint Stop Out
Step 20: Scaping And Burnishing Aquatint
Step 21: Oil Based Ink Modification
Remember that oil based ink is essentially pigment in a binder (linseed oil, etc), so how you modify the ink makes a difference:
- Adding Magnesium Carbonate = Adding body
- Adding 00 Oil = Makes the ink longer (runny) more plate tone but the danger is over wiping
- Adding 03 Oil = Adds tack (sticky) some plate tone but also helps with over wiping
- Adding 08 Oil = Adds tack and makes the ink longer (almost impossible to wipe)
See the image below for an example of how different modifications of ink and the way the pate is wiped change the result (left to right: plate, over wiped, Perfection Palette with 00 oil added, 2/3 Frankfurt black with 1/3 Perfection Palette and 5 drops of 03 oil).
Step 22: Oil Based Ink Color Mixing
Step 23: Multi-Color Printing On Intaglio Press
Step 24: Ala Poupe Wiping
Step 25: Chine Cole
Step 26: Intaglio Stencil
Step 26: Troubleshooting/Tips/Info
Zoom in on this image (above) to see the difference between dry-point, hard ground etching, roulette, etc...
Zoom in on this image (above) to see the difference between different types of aquatint stop out - sharpie, screen filler, crayon, etc...
Zoom in on this image (above) to see the various tones that can be achieved by leaving an aquatinted plate in the acid for shorter or longer amounts of time.
Zoom in on this image (above) to see the various dark/light lines that can be achieved by leaving a hard ground plate in the acid for shorter or longer amounts of time.
This is an example of "starved line" (above). It is caused when ink is not lifted out of the incised lines in an etched plate - a line that should be on solid, continuous mark has little white spots in it, where the line is "starved" of ink.
CAUSES: Sometimes the ink has not been pushed down far enough into the lines in the initial ink application, the ink could have been baked into the plate and so it will not release, the plate might have been over wiped, or the pressure on the press/felts is not strong enough.
FIX: Make sure you are carding on ink from multiple directions, don't leave the plate on the hot-plate tool long, and double check the pressure on the press/felts. You should also add 5-6 drops of #03 Burnt Plate Oil to your ink to make it harder to wipe the ink out of the lines and be careful not to scrub the ink out of the lines as you wipe the plate.
This is an example of "Salty Wiping" (above). It is caused when ink is too short and the plate is over wiped. The tone on the plate should be smooth and rich, not spotty and thin.
CAUSES: Almost always comes from over wiping a plate, but could also be due to the ink being too "short"
FIX: Add a bit of ink modifying oil (recommended - 5-6 drops of #03 Burnt Plate Oil) to your ink to make it harder to over wipe, and be willing to leave some plate tone (don't over scrub that thing...).