Etsa has traditionally been the process of using strong acids or mordans to cut off unprotected metal surfaces to make designs in intaglio (incised) on metal. In modern manufacturing, other chemicals can be used on other types of materials. As a method of graphic arts, it is, along with engraving, the most important technique for old master prints, and remains widely used today. In a number of modern variants such as etching microfabrication and photochemical milling, this is an important technique in modern technology, including circuit boards.
In traditional pure etchings, metal plates (usually copper, zinc or steel) are coated with acid-resistant waxy ground. The artist then scratches the ground with an etching needle in which he wants the line to appear in the finished part, thus exposing the bare metal. The  © choppe, a tool with an oblique oval section, is also used for "swelling" lines. The plate is then dipped into a tamarind basin, technically called
The plates are then inserted through a high pressure pressing machine along with a piece of paper (often moistened to soften it). The paper takes ink from the etched line, making a mold. This process can be repeated many times; usually several hundred impressions (copies) can be printed before the plate shows many signs of wear and tear. Work on the plate can also be added by repeating the whole process; this creates an etch present in more than one country.
Etsa is often combined with other intaglio techniques such as engraving (eg, Rembrandt) or aquatint (eg, Francisco Goya).
Video Etching
History
Origin
Etching by goldsmiths and other metalworkers to decorate metal items such as weapons, armor, cups and saucers has been known in Europe since the Middle Ages at least, and can go back to antiquity. The elaborate decoration of armor, in Germany at least, is an art that probably was imported from Italy around the end of the 15th century - a little earlier than the birth of etching as a graphic art technique.
The process as applied to graphic arts is believed to have been discovered by Daniel Hopfer (c. 1470-1536) from Augsburg, Germany. Hopfer is a craftsman who decorates armor in this way, and applies methods for graphic art, using iron plates (many of which are still there). Apart from the prints, there are two proven examples of his work on armor: a shield from 1536 now at Real Armeria Madrid and a sword at the Germanisches Nationalmuseum of Nuremberg. An Augsburg horse's horse shirt at the German History Museum, Berlin, aged between 1512 and 1515, is adorned with motifs of lining and Hop Hopfer wood, but this is not evidence that Hopfer himself did it, since decorative prints are mostly produced as patterns. for other craftsmen in various media.
The transition to copper plates may be made in Italy, and after that etching soon comes to challenge carvings as the most popular medium for artists in graphic arts. The greatest advantage is, unlike engraving where difficult techniques for using a burin require special skills in metalworking, the basic technique for drawing on an etching plate is relatively easy to learn for a trained artist. On the other hand, soil and acid handling requires skill and experience, and not without health and safety risks, and the risk of broken dishes.
Before 1100 AD, New World Hohokam independently used acid etching techniques in the design of sea shells.
Callot's innovation: ÃÆ' Â © choppe, hard ground, stop out
Jacques Callot (1592-1635) of Nancy in Lorraine (now part of France) made important technical advances in etching techniques. He developed the ÃÆ' Â © choppe, a kind of etching-needle with an oblique oval section at the end, allowing the etching to create a swelling line, as can be done by the engraver.
Callot also seems to be responsible for better and harder recipes for etching, using lute varnish instead of wax-based formulas. This allows the lines to be bitten deeper, extending the life of the slab in printing, and also greatly reduces the risk of "biting bites", where acid passes through the soil to a plate where it is not intended, producing spots or spots on the image. Previously the risk of stinking biting is always behind the mind of an ether, preventing too much time on one plate at risk of being damaged in the process of biting. Now etchers can do very detailed work that was previously a monopoly of the engravers, and Callot made full use of new possibilities.
Callot also makes wider and sophisticated use of some of the "stoppings-out" than ever before etchers have done. This is a technique of letting the acid lightly bite over the whole plate, then stopping parts of the work the artist wants to keep the light tone by covering it with soil before bathing the plate in the acid again. He achieved an unprecedented subtlety in the effects of distance and light and shadows with careful control over this process. Most of the prints are relatively small - up to about six inches or 15 cm in their longest dimensions, but packed with detail.
One of his followers, Parisian Abraham Bosse, spread Callot's innovation throughout Europe with the first manual published etching, translated into Italian, Dutch, German, and English.
The 17th century was a great etching epoch, with Rembrandt, Giovanni Benedetto Castiglione, and many other masters. In the 18th century, Piranesi, Tiepolo, and Daniel Chodowiecki were the best of a small number of fine etcher. In the 19th and early 20th centuries, Etching's resurrection resulted in a number of lower artists, but no main characters. Etsa is still widely done today.
Maps Etching
Variant
Aquatint uses acid-resistant resins to achieve tonal effects.
Soft-ethereal soil using softer soft soil. The artist puts a piece of paper (or cloth etc. In modern use) on the ground and draws on it. The prints resemble the image.
The etching relief was invented by William Blake in about 1788, and he was almost the only artist to use it in its original form. However, from 1880 to 1950 photo-mechanical variants ("line-blocks") were the dominant forms of commercial printing for images. A similar process for etching, but printed as a relief print, so it is a "white" acid background area, and an area to print "black" that is covered with soil. The exact technique of Blake is still controversial. He uses techniques to print text and images together, write text and draw lines with acid-resistant media.
Etching carbographs were discovered in 2006 and produced images such as charcoal images:
www.randhuebsch.com/carbograph.html
Detailed graphic creation techniques
The wax-resisting acid, known as soil, is applied to metal plates, most often copper or zinc but steel plates are other media of different quality. There are two common types of soil: hard soil and soft soil.
Hard soils can be applied in two ways. Dense solid soil is present in the hard wax block. To apply the hard soil of this variety, the plate to be etch is placed over the hot-plate (set at 70 degrees C), a kind of heated metal table. The plate heats up and the soil is applied by hand, melting into the plate when applied. The soil is spread over the plate as possible using a roller. Once applied, the etching plate is removed from the hot-plate and allowed to cool the hardened soil.
After the ground hardened, the artist "smoked" the plate, classically with 3 beeswax shrinking, applying the flame to the plate to darken the soil and making it easier to see which parts of the plate were open. Smoking not only darkens the plate but also adds a bit of candle. After that the artist uses a sharp tool to scratch the ground, exposing the metal.
The second way to apply hard soil is to hard hard ground. It came in a can and applied with a brush on a plate for etching. Exposed to the air on hard ground will harden. Some printers use bitumen or asphalt/tar as hard soil, though often asphalt is used to protect the steel plate from rust and copper plates from aging.
Soft soils also come in liquid form and allowed to dry but not dry hard as hard soil and easily affected. After the soil is dry, the printers can use materials such as leaves, objects, handprints and so on that will penetrate the soft soil and expose the plates beneath.
The soil can also be applied in fine mist, using rosin powder or spraypaint. This process is called aquatint, and allows the creation of tones, shadows, and solid color areas.
The design is then drawn (in reverse) with an etching needle or ÃÆ'Â © choppe. An "echo" point can be made from regular steel tempering etching needles, by grinding the back point on the carborundum rock, at an angle of 45-60 degrees. The "echoppe" works on the same principle that makes the pen line more appealing than ballpoint's: The slight swelling variation caused by the natural movement of the hand "warms" the line, and though barely visible in each line, has a very interesting overall effect on the finished plate. It can be drawn in the same way as an ordinary needle.
The plate is then completely submerged in a solution that gnaws at the exposed metal. Ferri chloride may be used to etch copper or zinc plate, while nitric acid may be used to etch zinc or steel plate. Typical solution is 1 part FeCl 3 up to 1 part water and 1 part nitrate to 3 parts water. Acid strength determines the speed of the etching process.
- The etching process is known as bite (see also spit below).
- Wax resistance prevents acids from biting on closed plate parts.
- The longer the plate remains in the acid, the deeper the "bite".
During the etching process, the printmaker uses bird feathers or similar articles to remove bubbles and detritus produced by the dissolution process, from the slab surface, or plates can be periodically removed from the acid bath. If the bubbles are left fixed on the plate then it will stop the acid bite into the plate where the bubbles touch it. Zinc produces more bubbles faster than copper and steel and some artists use this to produce rounded circles like circles of interest in their molds for the Milky Way effect.
The detritus is a dissolved metal powder that fills the scratched grooves and also can block the acid from biting evenly onto the open plate surface. Another way to remove detritus from plates is to place plates that will be scratched into the acid on a ball or plasticized marbles, although the weakness of this technique is exposure to bubbles and the inability to remove them easily.
For aquatinting the print manufacturer will often use a metal test strip about one centimeter to three centimeters wide. The strip will be immersed in the acid for a certain number of minutes or seconds. The metal strip will then be removed and the acid is washed with water. Part of the strip will be closed on the ground and then the strip is reded into acid and the process is repeated. The soil will then be removed from strips and ink strips and printed. This will show the mold maker varying degrees or depths of the etch, and therefore the ink color strength, based on how long the plate is left in the acid.
The plates are removed from the acid and washed with water to remove the acid. The soil is removed with a solvent such as turpentine. Turpentine is often removed from the plate using alcoholic spirits due to oily turpentine and can affect the application of ink and plate printing.
Spit bite is the process by which the print manufacturer will use acid on the plate with a brush in a certain area of ​​the plate. Plates can be stained for this purpose or exposed directly to the acid. This process is known as "spit" - grinding because of the use of saliva that was once used as a medium for liquefying acid, although gum arab or water is now commonly used.
A piece of matte board, a plastic "card", or a lump of cloth often used to push ink into the incised line. Its surface is cleaned with a piece of rigid fabric known as a tarlatan and then wiped with a newspaper; some printers prefer to use the blades of their hands or palms at the base of their thumbs. Wipe the ink leaves on the incision. You can also use pieces of organza silk that are folded to do the final coating. If a copper or zinc plate is used, then the plate surface is left very clean and therefore white in print. If a steel plate is used, then the plate's natural teeth provide a gray background print similar to the aquatinting effect. Consequently, the steel plate does not need aquatinting as the gradual exposure of the plate through successive dips to acid will produce the same result.
A piece of wet paper is placed on a plate and it is run through the press.
Binding non-toxic
Growing concerns about the health effects of acids and solvents led to the development of less toxic etching methods in the late 20th century. The initial innovation was the use of floor candles as hard soil to coat the plate. Others, such as printmakers Mark Zaffron and Keith Howard, developed the system using acrylic polymers as soil and iron chloride for etching. The polymer is removed with a solution of sodium carbonate (soda wash), not a solvent. When used for etching, iron chloride does not produce corrosive gas, as does acid, thus eliminating other traditional etching hazards.
Traditional Aquatint, which uses rosin powder or enamel spray paint, is replaced with airbrush applications from hard acrylic polymeric soils. Again, no solvent is required outside the soda ash solution, although a ventilation hood is necessary because of the acrylic particles from the air brush spray.
Traditional soft soil, requiring solvent to be removed from the plate, replaced with water-based printing ink. Inks receive the impression of a traditional soft soil, etchant iron chloride resistant, but can be cleaned with warm water and a solution of soda ash or ammonia.
Anodic etching has been used in industrial processes for more than a century. The etching force is a direct current source. The item to be etched (anode) is connected to its positive pole. The receiver plate (cathode) is connected to its negative pole. Both, spaced slightly apart, are immersed in a suitable aqueous solution of suitable electrolytes. The current pushes the metal out of the anode into solution and stores it as metal at the cathode. Shortly before 1990, two groups working independently developed ways to apply it to create intaglio printing plates.
In a patented Electroetch system, created by Marion and Omri Behr, in contrast to certain non-toxic typing methods, scratched plates can be reworked as often as artists want. The system uses voltages below 2 volts that expose uneven metal crystals in the etched regions. resulting in superior ink retention and display of quality printed images on a par with traditional acid methods. With low voltage reverse polarity provides a simpler method for making mezzotint plates and copper plates "facing steel".
Some of the earliest graphic art workshops experimented with, developing and promoting non-toxic techniques including Grafisk Eksperimentarium, in Copenhagen, Denmark, Edinburgh Printmaker, in Scotland, and New Ground Print Workshop, in Albuquerque, New Mexico.
Photos-etchings
The light-sensitive polymer plate allows for photorealistic etching. The photo-sensitive layer is applied to the plate by the plate supplier or artist. Light is projected onto the plate as a negative image to expose it. Pyramid plates are either washed in hot water or under other chemicals according to the manufacturer's instructions. The photo-etch photo area may stop-exit before etching to exclude them from the final image on the plate, or removed or lightened by scratching and polishing after the plate has been scratched. After the photo-etching process is complete, the plate can be further worked as a normal intaglio plate, using drypoint, further etching, engraving, etc. The end result is an intaglio plate printed like the others.
Type of metal plate
Copper is a traditional metal, and is still preferred, for etching, for biting evenly, holding texture well, and not distorting the ink color when removed. Zinc is cheaper than copper, so it's better for a beginner, but it does not bite as much as copper, and it changes some of the ink colors. Steel is becoming more popular as an etching substrate. The rise in copper and zinc prices has steered steel to acceptable alternatives. The quality of steel is less good compared to copper, but is smoother than zinc. Steel has a natural and rich aquatint.
The type of metal used for the plate affects the amount of mold the plate will produce. The strong pressure of the printing press is slowly rubbing the finer picture details with each pass-through. With relatively soft copper, for example, etching details will start to wear very quickly, some copper plates show extreme wear after only ten prints. Steel, on the other hand, is very durable. The use of these images from time to time is one of the reasons why the engraved prints created at the beginning of the numbered series tend to be of higher value. An artist thus takes the number of prints he wants to be taken into account when selecting metal.
Industrial use
Etsa is also used in the manufacture of printed circuit boards and semiconductor devices, and in the preparation of metal specimens for microscopic observations.
Control the acid effect
There are many ways for graphic artists to control the effects of acid.
Hard base
Most commonly, the surface of the plate is covered with hard soil and acid-resistant wax. The print maker then scratches the ground with a sharp point, showing the metal stripes that are attacked by mordanic acid.
Aquatint
Aquatint is a variation in which the particulate resin is distributed evenly over the plate, then heated to form a uniform, but less perfect, screen base, density. After etching, any open surface will produce a rough surface (ie, dark). Areas that should be light in the final print are protected by varnishing between acid baths. Consecutive turns of varnishing and placing plates in acid make the tone area difficult or impossible to achieve by drawing through the waxy soil.
Sugar lift
Here the design in a sugar solution or Camp Coffee is painted onto the metal surface before being coated in a liquid etch or a 'stop out' varnish. When later the plate is placed in hot water the sugar dissolves and comes off leaving the picture. The dishes can then be etched.
Meludahi
A mixture of nitric acid and Arab Gum (or almost never - saliva) that can drip, splatter or coated onto the metal surface gives interesting results. A mixture of nitric and rosin acids can also be used.
Printing the plate is done by covering the surface with printed ink, then rub the ink from the surface with a cloth or newspaper, leaving ink in the area and a rough line. Wet paper is placed on a plate, and both are run through a printing press; pressure forcing paper to come into contact with ink, transferring images ( c.f. , chine-collà ©  ©). Unfortunately, the pressure also subtly lowers the image on the plate, smoothing the rough area and closing the line; a good copper plate for, at most, a few hundred prints from very strongly etched before degradation is considered too great by the artist. At that point, artists can return plates manually by repeating them, basically laying back the ground and tread their lines; or, plates can be electroplated before printing with a harder metal to preserve the surface. Zinc is also used, because as the metal is softer, the etch time is shorter; However, the softness also causes faster image degradation in the media.
Faults
Foul-bite or "over-biting" is common in etching, and is the effect of very small amounts of acid leaking through the soil to make small pitting and burning on the surface. This unintentional roughness can be eliminated by smoothing and polishing the surface, but artists often leave false suggestions, or intentionally prosecute them with rough handling of the plate, as it is seen as a desirable sign of the process.
"Etchings" euphemism
The phrase "Want to appear and see my painting?" is a romantic euphemism in which one entices someone to return to their place with an offer to see something artistic, but with ulterior motives. This phrase is the corruption of several phrases in the novel by Horatio Alger, Jr. called The Erie Train Boy , first published in 1891. Alger was a very popular writer in the 19th century - especially with young people - and his books were widely quoted. In chapter XXII of this book, a woman writes to her boyfriend, "I have a new collection of paintings that I want to show you.You will mention the name of the night when you will call, because I want to be sure to be at home when you actually come." The girlfriend then wrote back, "I'll definitely find pleasure in checking out the etch you're holding as a hook to call."
It is referenced in the 1929 James Thurber cartoon in which a man tells a woman in the lobby of the building: "You wait here and I will bring the etchings down". It was also referenced in Dashiell Hammett's 1934 novel The Thin Man, where the narrator replied to his wife who asked him about a woman he had been traveling by saying: "He just wanted to show some French paintings."
The phrase was given a new popularity in 1937: in the published case, violinist David Rubinoff was accused of inviting a young woman into his hotel room to see some French paintings, but instead seduced him.
In early 1895, Hjalmar SÃÆ'¶derberg used the reference in his "decadent" dà © Ã… but the delusional novel (swe: FÃÆ'¶rvillelser), when he let the cool John Hall lure the younger sister of the main character, Greta, to his room on the pretext that they traced the etchings and carvings (eg, Die SÃÆ'¼nde by Franz Stuck).
See also
- Power retrieval
- Old master prints for method history
- The acid test (gold)
- Photolithography
- List of printers
References
External links
- Prints & amp; People: A Social History of Printed Pictures, an exhibit catalog from The Metropolitan Museum of Art, containing material about etching
- Australian Library Reference Library Catalog
- Etching of MMA Timeline of Art History
- Museum of Modern Art information on printing techniques and print samples
Source of the article : Wikipedia
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