Start this series with Post # 470, October 16, 2013.
Next, I remove the plate from the acid, rinse it off, and use a stop-out varnish to the areas which I wish to remain lightest in tone; in this case . . . the distant trees will eventually be stopped out and grass around the turkey in the foreground is being stopped out from the next acid bath with varnish.
Below, the plate is returned to the acid bath again and again so that some lines may be etched more deeply.
Additional stop-out varnish applications continue to add depth to the drawing.
This process is repeated over and over until all of the lines are bitten to the desired depth.
The deepest lines will print the darkest and will visually come forward . . . it is this repeated process
which gives the finished etching its impressive tonal range.
The image below shows the plate in its final acid bath.
Additional stop-out varnish applications continue to add depth to the drawing.
This process is repeated over and over until all of the lines are bitten to the desired depth.
The deepest lines will print the darkest and will visually come forward . . . it is this repeated process
which gives the finished etching its impressive tonal range.
The image below shows the plate in its final acid bath.
Blog, text, photos, drawings, and sculpture . . . © Sandy Scott
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