I started another 8" x 8" intaglio plate last weekend. But it quickly went off the rails, mainly because I quickly realised that I had no real idea what I was doing with it, just doodling around. Sometimes that works, but in this case it didn't. So I decided just to bombard it with a series of techniques. First I did a spit bite layer, blotting and refreshing the ferric every 3 minutes. That looked ok. Then I did an acrylic lift ground, with some changes to the formula that I used before.
The changes: using a 1:1 mixture of masking fluid and gouache; flow-coating 2 layers of acrylic hard ground instead of one. When it dried and I immersed the plate in hot water, the lift ground loosened in a way that left the hard ground resist completely intact (previously, a lot of the hard ground lifted off too). See the above image for how it looked before I aquatinted it.
Next, I etched the plate for 5 minutes, painted some acrylic stop-out in places, let that dry, and etched the plate for a further 10 minutes.
Above: that's what the plate looked like after I removed all the resists in a bath of soda ash. The proof print came out like this:
Ok, I know the image itself is garbage, but here's the good thing: every mark of the lift ground came out perfectly. This is in fact the most successful A.R.E./nontoxic printmaking version of the traditional sugar lift that I've created to date.
Next task: make a lift-ground etching that's actually, you know, GOOD.
This is my studio blog. I also have another blog, Praeterita, which contains more general art-related posts.