Sadaf Mirza if you go to my website www.printmakingstudio.co.uk you will find my shop where you can order my safer etching ground BIG. There are several other distributors who sell it too. I have many other video demos you can watch where you will find the different ways of making an etching.
Very very cool. Couldn’t you straight up mezzo tint with just sandpaper directly on the plate with no ground? I’m going to give it a shot but I love how you stacked sandpaper to create gradual pressure. This is great stuff. The first mezzotint i did was with a zippo lighter steel rolled around the surface and then I burnished with whatever i could and it came out great for a first try. So this is incredible. I doubt i’ll have access to an aquatint box any time soon and it sounds like a huge hassle compared to your sandpaper technique and like i said, i will try it with and without ground. I find I can use plain sheets of aluminum sheetmetal and get a decent print while experimenting. Obviously copper is much tougher and a more satisfying metal all around but I am going to got try your sandpaper grading technique directly onto the metal and with ground to see what works better. Thanks for making this.
Hi Andrew I love the videos . One correction though Martin Lewis was an Australian who did a lot of good work in the US. He came from Cstlelmaine Melbourne ,Victoria .
Hi Brian, But of course your quite right, my error, he was indeed born in Australia but spent most of his life in USA. I think he also spent some time in Japan. Nevertheless he was the most amazingly talented artist.
I think one of the unique properties of BIG is that it can stand this kind of punishment without breaking down. You can purchase BIG from many distributors. And yes it’s a far safer option.
Thanks Andrew. One question - the grades of emery paper - what does 500, 120 etc mean? Do you mean the European P500, P120 etc or are you using the US (CAMI) version? (see Wikipedia 'Sandpaper').
Hello Andrew! Thank you very much for this tutorial, I have some questions: What kind of cover does the copper plate have? Would this process work in iron? As the rest of the image is achieved by bruising and in iron is difficult to achieve, it occurs to me that I could try to re-paint the drawing, to block the granulate and thus to preserve white and gray in sussive dives (like traditional aquatint) Where I live is cheaper and easier to get iron than copper, and in my faculty we work with that material. I would be interested to propose this technique in class.
To be honest Michael I don’t know because I haven’t tried. But my suspicions would be that a traditional hard ground wouldn’t stand the punishment of so many holes pressed into it. And other acrylic hard grounds are to hard. I guess you will just have to use BIG😁
The Stepwedge is Brilliant Andrew!
Thanks for this wonderful instructional video.
A great graphician and wonderful teacher is a precious combination. Thank You so much, Andrew. God bless You!
My god, so much of tiny tips and info. THANK YOU SO MUCH. God bless you.
You’re welcome, glad you enjoyed 😊
@@bigetchingground Could you please suggest a ground resist that is easiest to apply abd readily available for simple etching. I am just learning
Sadaf Mirza if you go to my website www.printmakingstudio.co.uk you will find my shop where you can order my safer etching ground BIG. There are several other distributors who sell it too. I have many other video demos you can watch where you will find the different ways of making an etching.
I love watching your tutorials! Thank you for sharing your skill and knowledge!
These are great techniques. Thank you indeed, Andrew.
This is amazing, I was always baffled how Martin Lewis managed to get the amazing dark tones.
I have always adored Martin Lewis! As a printmaker, I have a home studio which is quite small, so this technique is perfect for me! Thank you!
Thanks! Very, very interesting ideas for work. Greetings from Slovakia....
Very very cool. Couldn’t you straight up mezzo tint with just sandpaper directly on the plate with no ground? I’m going to give it a shot but I love how you stacked sandpaper to create gradual pressure. This is great stuff. The first mezzotint i did was with a zippo lighter steel rolled around the surface and then I burnished with whatever i could and it came out great for a first try. So this is incredible. I doubt i’ll have access to an aquatint box any time soon and it sounds like a huge hassle compared to your sandpaper technique and like i said, i will try it with and without ground. I find I can use plain sheets of aluminum sheetmetal and get a decent print while experimenting. Obviously copper is much tougher and a more satisfying metal all around but I am going to got try your sandpaper grading technique directly onto the metal and with ground to see what works better. Thanks for making this.
Very Impressive. Loved the mezzotint. Great tutorial!
AMAAAAZING!!! I hate using nitric acid or ferrochloride.... but using emory paper is pure genius!!! Thanks!
Great video, love the tips. Will like to see more alternatives to printing without acid, drypoint!
gREAT tutorial!thank you so much!
Very interesting! An other easy way to make an aquatint or a maniere noir! Thank you!!!
Excited to try this. Is there a reason / difference in using emery paper rather than sandpaper?
Hi Andrew I love the videos . One correction though Martin Lewis was an Australian who did a lot of good work in the US. He came from Cstlelmaine Melbourne ,Victoria .
Hi Brian,
But of course your quite right, my error, he was indeed born in Australia but spent most of his life in USA. I think he also spent some time in Japan. Nevertheless he was the most amazingly talented artist.
What is the red varnish made of?
Are you able to accomplish an aquatint using sandpaper on standard hardground? You mention BIG. I assume that is a more nontoxic material?
I think one of the unique properties of BIG is that it can stand this kind of punishment without breaking down. You can purchase BIG from many distributors. And yes it’s a far safer option.
Thanks Andrew. One question - the grades of emery paper - what does 500, 120 etc mean? Do you mean the European P500, P120 etc or are you using the US (CAMI) version? (see Wikipedia 'Sandpaper').
Bonjour , merci pour vos conseils ; quel produit utiliser pour enlever le BIG de la plaque? merci pour votre réponse amicalement Mireille.
Vous pouvez utiliser du polish métal Brasso ou un décapant non toxique. J'utilise un produit appelé 'Home Stip'
@@bigetchingground Merci bp pour votre réponse , je vais essayer ce vernis ! amicalement , Mireille.
Hello Andrew! Thank you very much for this tutorial, I have some questions:
What kind of cover does the copper plate have? Would this process work in iron?
As the rest of the image is achieved by bruising and in iron is difficult to achieve, it occurs to me that I could try to re-paint the drawing, to block the granulate and thus to preserve white and gray in sussive dives (like traditional aquatint)
Where I live is cheaper and easier to get iron than copper, and in my faculty we work with that material. I would be interested to propose this technique in class.
lastcnicastradicionalesdelgrabado.blogspot.com.es/2015/06/paso-paso-de-un-aguafuerte-al-papel-de.html
I am wondering if this only works with the BIG hard ground or any hardground...
To be honest Michael I don’t know because I haven’t tried. But my suspicions would be that a traditional hard ground wouldn’t stand the punishment of so many holes pressed into it. And other acrylic hard grounds are to hard. I guess you will just have to use BIG😁
Hi Norman, yes it’s the European P grade.
thanks for the video! May I ask why you use multiple blankets?
Emberakitmeglottek , Each blanket has a different weight. The purpose is to maximize the pressure while protecting the roller/bed surface.
Did you ever make a demo on how to marble a plate? Thank you.
Yes I did, you will find it on my Facebook page Trefeglwys printmakers
Will ya might indicate where to get the sandpaper the size used in the video?
Sandpaper trace aquatint!