Ruth Leaf - Etching, Engraving and Other Intaglio Printmaking Techniques
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- Book:Etching, Engraving and Other Intaglio Printmaking Techniques
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Etching, Engraving and Other Intaglio Printmaking Techniques: summary, description and annotation
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The first part of the book is devoted to a thorough introduction to materials and tools, printing equipment, papers, presseseven how to set up your workshop for maximum safety and efficiency. In Part Two, the author proceeds to a detailed discussion of etching techniques, including formulas for grounds and inks, aquatint, white ground, hard ground, soft ground, sugar lift, and acids.
Once familiar with basic etching techniques, the student is then given precise illustrated instructions in printing techniques, including basic printing, double intaglio printing (the authors own method); color printing and embossing, the viscosity method, and viscosity and aquatint. For each procedure, clear, step-by-step directions cover the process itself, materials and equipment required, and cleanup. An especially helpful what went wrong section at the end of each chapter diagnoses problems and offers solutions.
In Part 4 Ms. Leaf details other mediums and methods: drypoint, notable for its characteristic velvety dark lines; engraving, one of the earliest forms of expression known to man, dating back to prehistoric times; collagraphs, plates made in the same way as collages and then printed; and the Blake Transfer Method, adapted from a technique developed by the English artist and poet William Blake (17571827).
A final Appendix treats such ancillary topics as framing and matting prints, storage, agents, and where to sell and show your work. Enhanced with over 220 illustrations, including works by Rembrandt, Callot, Drer, Goya, and Brueghel, and a wealth of illustrative figures and photographs, this precise and detailed manual belongs at the side of any serious printmaker, novice, or ink-stained veteran.
Excellent, comprehensive . . . superbly organized. AB Bookmans Weekly.
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I wish to thank the following people for making this book possible:
David Engler for insisting the book be written and published.
Vera Freeman of Andrews Nelson Whitehead for help with printing papers.
Joseph Martin of Martech for technical information.
Diane Casella Hines, Rene Sax, and Ellen Zeifer for excellent editorial assistance.
Anita Lerner for translating handwritten manuscript into readable type.
Robert Schiavo and Daniel Quat for photographs.
Joyce Hurwitz and Sharen Hedges for illustrations.
And the artists who work in my studio, for their moral support and
for some of the fine prints reproduced in the book.
. Prints are signed in pencil. The title is on the left; the numbers indicating the number of the particular print and the edition number, or the words Artists Proof are in the center; and the artists signature is on the right.
When you decide to print an editiononce your plate is finishedit isnt necessary to print the entire edition immediately. However, you must number the prints, store them as theyre made, and protect the plate in order to avoid corrosion. This chapter will deal with the methods of numbering the edition, keeping records, matting, framing, and storing prints and plates. In addition, I will suggest an approach to selling prints.
There are several factors that determine how large an edition should be; the most important are the durability of the plates and the type of bite. A zinc plate bitten with lift ground, hard ground, or soft ground, could yield an edition of 100 prints, while the same zinc plate bitten with aquatint or white ground could wear out after only 25 prints. Copper, a harder metal, will yield more prints than zinc. A copper plate can, in addition, be steel-faced, an electrolytic process that deposits a thin film of steel over the copper. The advantage of facing a copper plate with steel is that it allows fragile intaglio methods, such as drypoint, mezzotint, and aquatint, to be printed in very large editions. A drypoint edition on plain copper, for instance, might normally be only 10 prints; on a steel-faced plate that edition could be 100 or more. Steel plates will print very large editions with no difficulty.
Another factor to be considered when youre deciding how large an edition should be is how many prints you think you might sell, send to shows, and so forth. Storing many prints for long periods of time can be a problem, and theres little point to pulling 100 prints when you cant realistically expect to sell or use more than 5.
An edition consists of the numbered prints plus the artists proofs. If a printer is employed to print the edition, he receives another print, labeled Bon tirer. This is the first print he pulls, and its exactly like the proof which the artist brings to him with the plate. This means that a printmaker who has his printing done by someone else must have a perfect print to present to his printerthe pick of the litter, more or less.
Prints should always be numbered and signed in pencil. The name of the print is put in the left-hand corner or in the center, the edition number is in the left-hand corner or the center with the name, and the artists signature is always in the right-hand corner (see ). The edition number is stated as a fraction with the total number of prints in the edition as the bottom number and the number of the specific print as the top number. If the edition is 25, the numbers would read 1/25, 2/25, 3/25, 4/25, and so forth.
In the nineteenth century, when entire editions were sold to dealers or publishers, the artist was allowed to keep several prints labeled Artists Proof to sell or to show. Artists proofs are now a part of every edition, whether the edition is sold or not. Usually, the artist makes 10 artists proofs, although if the edition is as large as 250, he could make 25. Artists proofs arent counted in the size of the edition, but it isnt considered ethical for the number of artists proofs to exceed the size of the edition.
When you finish a plate and begin the edition, you must keep a careful record of the last number printed so theres no duplication of numbers in case you finish printing the edition years later. This would happen if you wanted 50 prints in the edition, but expected to sell only 5. So you might print 10 out of 50. Three years later, when you want to finish the edition, you wont remember what number youre up to unless you keep a record. Also, if the print is in color, keep accurate color notes. You may think that youll remember the colors, but I can assure you, both through observation of others and from my own sad experiences, that you wont remember. If possible, even keep a color swatch of each color used.
. When the book mat is closed, the margins left between the print and the mat allow the plate mark to be seen. There is also room on the bottom for the edition numbers and signature.
. The book mat open. The print is taped to the backboard at the top only. The faceboard, with a window cut out, is taped to the backboard on the top.
Right now, begin to keep a book or a set of file cards to record the following information for each print:
- Name of print
- Date the plate was finished
- Kind of paper used
- Accurate account of color plus a color swatch
- Numbers used in the edition
- Price of the print
- Number of prints sold
- Number of prints on consignment and to whom
- Purchases by collectors or museums, prizes won, etc.
In national shows, prints are often shown matted but not framed. Mats consist of a backboard and a faceboard. They should be the same size; the faceboard should have an opening through which the print shows; and the two should be connected with linen tape.
To mat a print, you should fasten it to a backboard at the top only with linen tape or Elmers glue. As paper tends to absorb the moisture in the air, which causes it to stretch, a print attached to the backboard on all four edges would eventually buckle. The opening in the faceboard should be larger than the platemark on the top and sides of the print. The bottom margin should be larger than the platemark to allow room for the name of the print, the number of the edition, and your signature (see ).
Mats for shows should be white book mats (see ). If you expect a print to be in a mat for a long period of time, either in or out of a frame, you should place it in a mat and backboard made of acid-free museumboard or ragboard. Wood-pulp cardboard will stain or burn the paper in a few years.
You may be asked often to wrap your matted print in acetate to protect both mat and print. A good weight of acetate for this purpose is .003when you purchase it, be sure that its clear and that it doesnt superimpose a color on the print. Tape the acetate securely to the back of the print (see ).
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