Process of Etching

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P r o c e s s

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C

H

TIME

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o f

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AGE 1

其

觀 眸

子

“The eyes are the mirror of the soul”

人

焉

孟子 In previous months, I have done a series of interviews with older people in different places in Bristol, from nursing home, retirement apartment, community center and homes. After collecting stories of different people, I came up with a series of etching works based on drawing of the eyes from selected people. To show their mind in the eyes, their expression is captured when older people are sharing their

own stories, with happy, upset, touching, thankful moments.

It was done by etching, which is a traditional hand-rendered printing method. The reason why I use this method to present my idea is that older people are experienced people who have witnessed the history and change of the world.

Moreover, “Age is the life through time”, one of the interviewees said, it could be reflected in this time-consuming process.

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When deciding to do etching work for my project, the instructor in printing center helped me a lot. He is David Sully, who work as a senior technical instructor of etching in University of the West of England, Bristol. He has been working for 17 years, providing instruction and technical support to students in etching or intaglio printmaking. He first started etching in 1990 at Royal Academy Schools in London. He worked in an editioning studio in Wiltshire with artist undertaking projects in variety of intaglio methods. One of the reasons why he likes doing etching is he think that etching is one of the most versatile Graphic mediums. The process and the impact of time suit a meditative and contemplative nature.

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C O N T E N T

WHAT IS ETCHING? p. 7

PREPARATION OF p.8 COPPER PLATES

Introduction

Cleaning

Hard ground etching

Filling

Engraving

Polishing Degreasing

PRINTING PROCESS p.14

INKING PROCESS p. 25

ROLLING THROUGH p. 27 THE PRESS

DESIGN

p. 28

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W H A T I S E T C H I N G

?

Etching is a traditional hand-rendered printing method which is done by making prints from a metal plate, usually copper, into which the design has been incised by acid. The etching process with a polished copper plate is also known as intaglio copperplate printing.

The earliest examples of etching on metal are found on suits of armor, which were originally decorated with lines engraved by hand. And the first dated etching was made in 1513 by the Swiss artist Urs Graf, who printed from iron plates. It is one of the most important techniques for old master prints, and still has a relevance in contemporary practice.

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P l a t e

p r e p a r a t i o n

Materials and tools

We could do etching on different kinds of material and tools. To prepare the plates, copper, zinc or steel are the most commonly used metals, which must be between 1mm and 1.6mm. Copper plate is used, as it will always be smoother at the edge of an etched line and it can be steel-faced for perfect colour and longer print runs.

C U T T I N G C O P P E R P L A T E Can I make it circle in shape?

Yes, I guess. You can ask the technician there and they can help you to solve it.

10cm 10cm

find the center by marking a cross-section line.

Draw a circle by using a Compasses.

Cut the plate according to the marking of lines at the edge.

Draw a line at each edge of the circle.

The copper plate was firstly cut into 6 squares with 100mm x 100mm by using a sheet metal guillotine. I wanted to cut it into the shape of a circle because it matches with the eye more than a square does, and it is the shape of our iris.

Since I planned to make a ‘clock design’ as the cover page, and therefore a circle shape is used.

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In order to make a circle on the square plate, after discussing with the instructor in the Fabrication center, I had advice on how to do it. I marked a circle on the square copper plate, and then cut the corners of the square at the right angle of the circumference.

It will come to an octagonal plate afterwards. Then I cut the corners again, making the plate with 32 edges, which looks quite similar to a circle.

The corners are smoothed by using a sharpening bar and machine, which makes it look like a circle.

C u t

4 8 16 32

i t

i n t o

. . .

S q u a r e O c t a g o n h e x a d e c a g o n

∞

. . . . .

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F i l i n g

p l a t e

P O L I S H I N G P L A T E

Before starting to work on my plate, the sharp edge should be removed by filing it smooth.

When polishing plates use a sheet of scrap blotting paper on the polishing bench avoiding it from sliding around.

Metal polish is put on the hotplate and the plate is polished with a soft cloth until it’s shiny.

D E G R E A S I N G

To do this Press down on the plate firmly and file the plate edge with fast up and down action.

Tilt 45 degrees towards the plate. After continuous smoothing at different angles, the corner of the copper plate would be rounded and smooth.

A light tone will be printed after polishing the plate. It helps makethe line to stand out as they will be lighter than the background tone.

Whiting and ammonia are mixed with waterand put on the plates.

A plate needs to be degreased before putting on a hard ground. Grease from the plate should be removed as it prevents the acid-resist from sticking evenly over the plate.

Wash off the plates when they have been rubbed.

Dry it with cloth paper.

Cleaning

Filing

Polishing

Degreas

sing

hard ground etching

Engraving

Rolling through the press 13

Melt a hard ground onto the hot plate. Use a roller and warm it by rolling it up and down on the hotplate.

Gradually pick up the melted ground, roll the roller onto the etching plate to apply the ground on it evenly.

Use a hook to screw into the hinged end, hard ground is smoked with tapers, and the plate is facing down.

After smoking the plate, we could make the mark by removing the area allowing acid to etch the image

H A R D

G R O U N D

E T C H I N G

Hard ground is an acid-resistant wax that is put evenly all over the etching plate. It is good for line work and stippling.

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E N G R A V I N G

making prints from etched metal plates

D R Y P O I N T

The simplest type of engraving is scratching into the metal plate with a sharp point, which is called drypoint. If you hold the tool at 90 degrees to the plate surface, but with the top of the tool angled towards you, the line produced will consist of two furrows.This type of mark will last longer when compared with those held at a sideways angle. The greater angle at which the point is held, the softer the line will be.

L I N E E N G R A V I N G

The practice of making prints from etched metal plates was adopted by printmakers as an easy way of engraving, a process of making prints from metal plates incised with tools like burin. Other than this, there are some different ways and tools we could use to make marks, For example Drypoint, line engraving, stipple engraving and mezzotint. For the tools, we could use whatever we want and those people commonly use are needles, pencils, turpsed rag and sandpaper.

To do this, we can hold the shaft of the burin between middle finger and thumb with the index finger on top of the shaft.

Gently push the burin across the surface of the plate. Tilt it slightly down as the tip of the burin rises through the metal. Line Engraving produces sharp line with perfect edges, however, fewer and fewer people like to spend time on doing etching by using line engraving(burin), but use acid to remove the metal instead.

In this case, other than burin, I have also tried some different materials like wood, key, finger and ruler. etc. However, after trying different materials, I found that it is better for me to draw the eyes mainly with a steel etching needle since I wanted to do line-engraving of the eye. It is easier to control and I can draw more freely by using steel etching needle instead of burin. Although it is not easy to control and predict the outcome, I believe it can produce a cursive line with delicacy and finesse. Moreover, this time-consuming method is a kind of hidden message of my publication, telling what is TIME

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Before I had the idea of doing etching, I did some sketches of the older people who did interview for me.

Steel etching needle is mainly used for engraving.

I did line-drawing with references to the sketches I’ve drawn and photos I’ve taken.

In chemical etching, the starting piece of metal is covered with certain coatings, known as a mask, which resists the corrosive acid.

With the use of an etching needle, it could help to remove the ground on the plate.

With the sandpaper, we could rub it across the ground or place it on top of the ground then roll it through the press. It helps to create a coarse grey tone over the metal plate.

T O O L S

&

M A T E R I A L S

It took around 20 minutes to finish a plate, and I have taken video with 3 times fast-forward recording the process of drawings.

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The copper is then placed in a solution of ferric chloride to eat away at the uncovered parts. This have a particularly strong effect on the metal. After a certain amount of time, the metal will be dissolved except where the mask has been applied, in which case the mask itself resists most of the corrosive effects of the acid. The result is a metal piece in the precise shape desired, with the correct contours on the surface.

After putting it in the acid for 60-80mins, take it out carefully by using gloves. Wash the plate and remove the black wax resist with white spirit.

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I N K I N G To ink the plate, all of the plate including the very finest detail should filled with ink before printing. This would be better when the ink is applied to the plate with scrim. When preparing to ink the plate, we should firstly check the edges of the etched plate are smooth. To ink the plate, the plate is always warmed on a hotplate, and then moved to a wooden box allowing it to cool down slowly.

P R O C

C E S S

Apply the ink to the etching plate by using a dabber.

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Mash the ink with a palette knife on the ink slab.

Apply the ink to the etching plate by using dabber. Rock it with a sideways motion until a thick and even layer of ink is on it. Apply downward pressure and slight forward motion on it.

I have tried black and white ink Use a scrim to remove ink from inside the etched areas of the plate by pressing it down hard on the plate with clockwise twist. Start again with a circular anticlockwise motion. Continue wiping until there is the thinnest layer of ink.

Put the papers in a bath of water for up to 20 minutes and then dry it between 2 sheets of blotting papers. It helps to soften the paper allowing more ink to print on it.

Making marks on the press for the paper and plates.

Put tissue paper at the bottom and d place the plate on the press bed facing the top.

Put the dampened paper on top and cover with two layers of blankets on the press.

The press wheel is then turned and the plate and paper are passed through the press.

Great pressure is placed on the paper and the ink transfers onto it.

R O L L I N G T H R O U G H T H E P R E S S The print then needs to be placed between boards to dry under weight for one or two days.

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D E S I G N

P R I N T I N G PA P E R S somerset paper Paper sugar A1 Black (with inverted color of eyes) sugar Royal off-white mineral, antique white Simili Japon 130gsm white paper 100gsm Recycle paper - white yellow paper bought in scrapstore newspaper

T Y P E FAC E

Old Style 7 std: 16pt Snell Roundhand LT Std - 15p

Baskerville 14pt Script MT Std 14pt

To design the publication, I have tried different typeface, with different fonts, font size and layout. Having the etching work printed with different styles and papers, the final prints with using Baskerville as content, and Script for the name of older people.

The final product of the etching work is a publication with 6 printed eyes with 210mm x 210mm.

L A Y O U T

development of introduction

what do you think of time?

what do you think of time?

what do you think of time?

Older people usually have the wisdom of life. This publication records the answers to questions about time with six older people living in St. Monica Trust’s Monica Wills House, an urban retirement village, different backgrounds, experiencing the same thing, age. How do they feel about time? How would they describe time. Can you read their mind and get the answer?

Older people usually have the wisdom of life. This publication records the answers to questions about time with six older people living in St. Monica Trust’s Monica Wills House, an urban retirement village, different backgrounds, experiencing the same thing, age. How do they feel about time? How would they describe time. Can you read their mind and get the answer?

With references to the interview, most of them dislike time as it leads to old age. Who doesn’t want to be young, and who doesn’t want to be energetic enough to do anything they want?

However, they come into a conclusion that, life goes on. It is no good sitting down and feeling sorry for yourself. Try and make things happen with others, which makes sure days go a little bit better. We all become old, it is time to think about how to grab your time and live your life without regret.

With references to the interview, most of them dislike time as it leads to old age. Who doesn’t want to be young, and who doesn’t want to be energetic enough to do anything they want?

However, they come into a conclusion that, life goes on. It is no good sitting down and feeling sorry for yourself. Try and make things happen with others, which makes sure days go a little bit better. We all become old, it is time to think about how to grab your time and live your life without regret.

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Cover story: Etching work of “the Eye of Betty Joan Underwood, 79.

I used to question why do we have to do traditional printing method when we could just simply print our works by a digital printer by clicking a button.

However, once I experienced the interesting old printing method in university, I do enjoy it a lot. We all know that the printing process is time-consuming and complicated, but this is the reason why people love doing this work. Moreover, we could feel that it gives a texture of printing work which we could not find in digital printing.

Nga Ki Hon, Anky Graphic Design UWE, Bristol April 2013

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