ACID ETCHED
Aquatint Etching Using Litho Pencil
This article is directed mainly toward artists who have knowledge of the basic printmaking process. Those who have worked with line etching may wish to know more about aquatint, a process that allows for the creation of tones in the printmaking process. A copper or zinc plate is finely dusted with powdered rosin. The rosin is heated until it fuses with the plate. This is noted by a change in the rosin’s color, from yellow to a dark tan. Caution should be exercised as not to overheat areas, which could cause unevenness in the final etch. Any areas can then be blocked out with varnish and then the plate is immersed in acid. The etches are timed in order to create varying tones or values.
In my art, I sometimes enjoy creating drawing effects with my tones. Here are some advanced aquatint processes that you may wish to try. We’ll start with the litho pencil or crayon used as stop-out. You prepare your plate like you were going to do an aquatint. After melted rosin is cooled on the surface of the plate, you draw on its surface with a litho pencil. The softer pencils work better, because harder ones may scratch your surface. You approach the drawing as though you were creating values on paper, except your drawing will resemble a negative of the final image. Where your crayon is the thickest (or darkest), it will etch lighter, due to the masking effect of your crayon. When selecting a crayon, you will need to use a non water soluble one or you can also use a china marker, instead. By using varying thicknesses of your marks, you can develop a nice range of gradual values, avoiding the abrupt transitions created by varnish. When the drawing is ready, just dip in the acid. You may have to do some test etches to adjust for the best time.
Ralph Slatton, Professor/ art and design/ printmaking
East Tennessee State UniversityContact:
http://www.etsu.edu/cas/art/study/printmaking.aspx
About the Author
Ralph Slatton is Professor in charge of Printmaking at ETSU, Department of Art and Design. He began his position in 1990 and presently teaches drawing fundamentals, intro to prints, intaglio, lithography, silkscreen, and relief. He has also held the position of Department Chair from 1999 to 2004. His degrees are BFA (1982) and MA (1986) degrees from Arkansas State University and the MFA (1990) from University of Iowa. A selected list of recent shows include: “Society of American Artists Exhibition,” Ormond Memorial Art Museum and Gardens, Ormond Beach, Florida (members exhibition)2008; “Naestved International Mini Print Exhibition,” Ronnebaeksholm Arts and Culture Centre Naestved, Denmark. (group exhibition)2008; “Mind Creatures,” Mabee Art Gallery, Culver Stockton College, Canton, MO. (solo)’2008. Ino-cho Paper Museum, Kochi-shi, Japan, Taipei Fine Art Museum, Taipei, Taiwan, R.O.C., Taiwan Museum of Art, Taichung, Taiwan, R.O.C., Some of his works were published in Best of Printmaking ‘97, Rockford Publishers.
ACID ETCHED Q & A
is acid etch glass & ground glass similar?
I am trying to make a camera obscura, just wondering if acid etch glass & ground glass are similar.
They’re different. Acid-etched glass is produced by hydrofluoric acid eating away the glass, and ground glass is well, ground! There are kits out there that will do both. Perhaps look into a commercially-available aerosol can that works as a mini-sandblaster to etch your glass. Not nearly as toxic as hydrofluoric acid. Saw it on QVC a couple of years ago, but it should be available in craft supply houses.
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