Syllabus and Basic Intaglio Procedure

Printmaking I Intaglio

This is a course in figure drawing as well as one devoted to the unique qualities of printmaking. Expanding the drawing process to embrace the episodic nature of printmaking will be a chief goal. As a graduate level course students will be expected to concentrate more rigorously on specific issues and problems evident in their work.

Attendance is mandatory. Because demonstrations are given almost every day, a missed class can mean a lot of confusion later, when you are expected to implement the technique.

Two field trips will be made to area print collections.

1.Introduction to shop, cleanup rules, basic procedures, Etching hard ground line etching demo. 2. New Model

3. Model

4. Drypoint and engraving demo. Model

5. Model

6. Model

7. Mezzotint and aquatint demo.New Model

8. Editioning demo Model

9. Model

10.Advanced etching demo. Model

11.Model

12.Alternative printing options New Model

13.Model

14.Model 15.Model  

Edition: At least 15 identical prints from edition project.

Biweekly demonstration topics will include:

Registration, Editioning, Large scale printing, Special techniques in intaglio,

Xerox transfer, drypoint, engraving, aquatint, mezzotint

Supplies

1 lb. Etching Black (Extra Stiff Etching Black is preferred)

1 scraper

1 etching needle or scratch awl(knurled hardware store diamond tipped is best)

1 burnisher

3 yds. Tarlatan(starch impregnated cheesecloth)

several sheets of etching paper: Domestic etch, Rives BFK,... etc.

1 large newsprint tablet

Sketchbook

various sheets of copper plate 4x5in.-18x24in.

Suppliers

Metaliferrous, 46th st. btwxt 5thand 6th Ave. 2nd flr

Space Surplus metal, Church St. btwxt Canal and Lispenard

Pearl Paint, Canal St. btwxt Broadway and Church

New York Central, 3rd Ave at 12th

Intaglio Procedures

Applying Hard Ground

Hard Ground is made from 50%Mineral Spirits and 50%Asphaltum.

1.Your plate should be lightly filed and burnished at the edges(this is to prevent tearing of paper and felts. Light scratches should be burnished out while heavier scratches can be scraped and then burnished(with oil).

2.The plate then recieves an application of metal polish, buffed and then wiped with denatured alcohol. Now the plate is ready for hard ground.

3.Make sure your brush is clean. Rinse it out if necessary with mineral spirits. Apply in even coats without rebrushing. Application should be almost black but revealing a little copper color. 4. Set copper plate with newsprint underneath onto medium heat until plate no longer smokes or five minutes have passed.

5.Remove plate from hotplate and allow to cool. Wrap in paper until ready to draw with etching needle.

Etching your plate:

1.Once you are ready to begin etching, first make sure your plate is protected on the reverse side by a special coating or by contact paper.

2.Using the test print posted in the printshop determine which parts of your plate will get the lightest etch. Those areas will need to be in the etch solution for the least amount of time.

3.Using two pieces of duct tape create a strap for the plate to hang in theetch solution.

4.After each etch, remove the plate, rinse it, blot it, fan dry, and apply shellac to those areas you want to protect.

Pulling a proof of your intaglio plate:

1.Clean all ground and shellac off of your plate using the appropriate solvent for each(Mineral Spirits for Hard Ground, and Denatured alcohol for shellac).

2.For a working proof it is necessary only to lightly file and burnish your plate bevels. Later, when you are ready to pull an edition it will be necessary to do a more complete job.

3.The clean, etched plate is ready to receive ink. You may heat the plate momentarily prior to inking. This encourages the ink to settle in the grooves.

4. Atop several sheets of newspaper begin scraping ink across your plate using a plastic knife or piece of cardboard. Once the ink has been spread over the plate and worked into the grooves, you may scrape away as much excess as possible prior to wiping.

5. Begin wiping with your dirtiest tarlatan. Wrap the tarlatan into a ball and wipe heavily at first then ease up on the second and third wipings. After the third tarlatan wiping you should see the image clearly.

6.For a plate surface absent of plate tone, you should do a fourth wipe with newspaper and a chalkboard eraser.

7. Don’t forget to wipe off your bevel and behind.

8. Place the plate on the press bed with a clean sheet of newsprint underneath. Remove your paper from the bath, blot it, and lay it over your face up plate. Cover with the clean newsprint and then the felts. Pull your proof.

9. Wet proofs should be pinned against the wall or pressed between sheets of homosote.