| This article is directed mainly toward artists who | | | | used as stop-out. You prepare your plate like |
| have knowledge of the basic printmaking | | | | you were going to do an aquatint. After melted |
| process. Those who have worked with line | | | | rosin is cooled on the surface of the plate, you |
| etching may wish to know more about aquatint, a | | | | draw on its surface with a litho pencil. The |
| process that allows for the creation of tones in | | | | softer pencils work better, because harder ones |
| the printmaking process. A copper or zinc plate | | | | may scratch your surface. You approach the |
| is finely dusted with powdered rosin. The rosin is | | | | drawing as though you were creating values on |
| heated until it fuses with the plate. This is noted | | | | paper, except your drawing will resemble a |
| by a change in the rosin's color, from yellow to a | | | | negative of the final image. Where your crayon |
| dark tan. Caution should be exercised as not to | | | | is the thickest (or darkest), it will etch lighter, due |
| overheat areas, which could cause unevenness in | | | | to the masking effect of your crayon. When |
| the final etch. Any areas can then be blocked | | | | selecting a crayon, you will need to use a non |
| out with varnish and then the plate is immersed in | | | | water soluble one or you can also use a china |
| acid. The etches are timed in order to create | | | | marker, instead. By using varying thicknesses |
| varying tones or values. | | | | of your marks, you can develop a nice range of |
| In my art, I sometimes enjoy creating drawing | | | | gradual values, avoiding the abrupt transitions |
| effects with my tones. Here are some | | | | created by varnish. When the drawing is ready, |
| advanced aquatint processes that you may wish | | | | just dip in the acid. You may have to do some |
| to try. We'll start with the litho pencil or crayon | | | | test etches to adjust for the best time. |
