On a scanned copy of my etching I used some grey Pitt pens to colour in areas with 2 different tones. Then using etching stop-out varnish ( as sticky bituminous mixture) on my plate I painted the areas that would be reserved as white, a counter-intuitive procedure!
Then donning mask and gloves, a thin layer of resin was applied to the plate using aquatint box ( basically a dust cloud of resin! ) I should really have used the stop- out afterwards as it's inflammable and part of the process involves heating the plate from underneath to melt the resin.
Then the stop-out varnish was removed with paraffin ( resulting in this rather nice effect of the gold of the resin) ) and the resin removed with methylated spirits.
Then the exciting bit! There was just time to ink up with Prussian blue - I'm getting better at judging how much ink to take off , and put it through the press.
I'm not sure I'll want to do etching and aquatint in the future, as it requires access to facilities and there's a lot of processes involved. But I've gained a whole new respect and insight into what goes into an etching and looked at the prints in the RA summer Exhibition with a new perspective on my visit on Wednesday (more in another post)
The 'Develop your drawing ' class this week was off-site around Waterloo Bridge collecting sketches and information for a 2 week project on the theme of Journey. My sketches really were sketchy but I had a lovely time scribbling .Below are some of the photos I took as a reminder, I'll probably do a bit of playing in Photoshop to develop some ideas for next week.