subject: Aquatint Etching Using Litho Pencil [print this page] Aquatint Etching Using Litho Pencil 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.Youprepare 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
