Hey! I would suggest doing a ‘Test Strip’ with aquatint on first, for example: Get a small rectangular plate, cover it in aquatint, then place the whole plate in the water for 30 seconds, then cover most of the plate leaving a small strip exposed, remove the plate, redo the cover so that a further small strip is exposed and repeat until you have the first 30 second exposure last on the strips. Then print the test strip - what you should find is that you have a gradient of colour from light to dark. Say you put the test strip in the water 5 times, you’d have a 30, 60, 90, 120 and 150 second sections of exposure to acid. This is show you how long you should leave your plate in the acid to achieve the desired depth/ darkness of colour you want! I hope this helps. 👊🏼
@@rowansiddons1872 Thank you soo much. This really helped. I am studying my masters degree in Fine Art and I am in South Africa. I have been struggle in terms of the long does the aquatint take and my prints are a bit mess but I think it is a beautiful one. One other thing is that, do I only use rosin dust onces before starting the aquatint? Or everytime after stopping out? I wish you were here to assist
A labor intensive process dear to my heart. However, for most users I would suggest working smaller and concentrating on the real beauties of intaglio: original autographic line qualities from natural drawing ability, along with controlled aquatints if desired. To me, the real heroes of intaglio are Durer, Rembrandt, Goya, Rouault, Picasso, Degas, with a smattering of other skilled practitioners such as Mary Cassatt, Whistler, Hopper and a few others. Engraving has become a lost art and I have not seen any evidence that engraving skills can return to past glories. Incidentally, the old methods and materials are the best. I think this whole new trend to seek "non-toxic" processes and chemicals is mostly a politically-correct diversion which accomplishes almost nothing. Sure, utilize basic common sense practices, such as avoiding breathing acid fumes. But I see nothing wrong with traditional methods and materials.
Youthful folly. When you grow older you will regret you did not use gloves for every step. Use gloves man! These chemicals accumulate in the system. Google safety for printmakers. Great work guy. Be safe.
wow finally a video that also told the steps :)
Great! Commendable
Trying to figure this out for a uni class rn. Helped a lot thanks bro 👍🏻
I love your work! It’s so impressive 😍
How many minutes do you put in the plate in the the acid during aquatint?
Hey! I would suggest doing a ‘Test Strip’ with aquatint on first, for example:
Get a small rectangular plate, cover it in aquatint, then place the whole plate in the water for 30 seconds, then cover most of the plate leaving a small strip exposed, remove the plate, redo the cover so that a further small strip is exposed and repeat until you have the first 30 second exposure last on the strips. Then print the test strip - what you should find is that you have a gradient of colour from light to dark. Say you put the test strip in the water 5 times, you’d have a 30, 60, 90, 120 and 150 second sections of exposure to acid.
This is show you how long you should leave your plate in the acid to achieve the desired depth/ darkness of colour you want!
I hope this helps. 👊🏼
@@rowansiddons1872 Thank you soo much. This really helped. I am studying my masters degree in Fine Art and I am in South Africa. I have been struggle in terms of the long does the aquatint take and my prints are a bit mess but I think it is a beautiful one. One other thing is that, do I only use rosin dust onces before starting the aquatint? Or everytime after stopping out? I wish you were here to assist
A labor intensive process dear to my heart. However, for most users I would suggest working smaller and concentrating on the real beauties of intaglio: original autographic line qualities from natural drawing ability, along with controlled aquatints if desired. To me, the real heroes of intaglio are Durer, Rembrandt, Goya, Rouault, Picasso, Degas, with a smattering of other skilled practitioners such as Mary Cassatt, Whistler, Hopper and a few others. Engraving has become a lost art and I have not seen any evidence that engraving skills can return to past glories.
Incidentally, the old methods and materials are the best. I think this whole new trend to seek "non-toxic" processes and chemicals is mostly a politically-correct diversion which accomplishes almost nothing. Sure, utilize basic common sense practices, such as avoiding breathing acid fumes. But I see nothing wrong with traditional methods and materials.
Youthful folly. When you grow older you will regret you did not use gloves for every step. Use gloves man! These chemicals accumulate in the system. Google safety for printmakers. Great work guy. Be safe.
Meh...