Artist, lecturer, exhibition curator and master intaglio printer, Anthony Kirk demonstrates the printing of etchings, aquatints and engravings on Somerset paper as well as the preparation of the printmaking paper for intaglio printing. On view in the print studio are examples of his past collaborations with Wolf Kahn, Robert Kipniss, Helen Frankenthaler, Joan Mitchell, Kiki Smith, Frank Stella and Donald Sultan. The technique of etching and printing a copper plate is unchanged since Rembrandt's time yet this ancient process continues to be a significant part of the education of an art student as well as being an important medium in the work of emerging artists and artists of international acclaim.
Below are some follow up questions from Tony’s webinar.
How many pounds of pressure are your roller using?
I have no idea how many pounds of pressure the roller of the press is bearing down when I print. Unlike a hydraulic press, which I used frequently at Tyler Graphics and has a pressure gauge. Except for the very smallest table mounted presses which usually come without micro dials at each side of the roller, nearly all larger hand operated and electric driven presses have micro dial pressure gauges at each side of the roller so that visually one can visually see that the pressure is equal on both sides. The turn handles on each side turn to the right to increase the pressure and to the left to decrease the pressure. Righty tighty and lefty loosey.
There are several variable that have to be just right in order to print an excellent impression. The correct number of blankets is very important. If the catching sizer which is closest to the paper become stiff from absorbing the paper's sizing over time, it will not give you a good print in the lightest aquatints for example. This blanket needs to be hand washed once in a while. The paper has to be sufficiently dampened. Somerset if soaked in water for ten to fifteen minutes is sufficient. Then the paper is blotted to remove all signs of wetness. During the demo I felt that the paper I was about to use to print the mezzotint had dried out a bit so I re wet it with a hand water mister, blotted it and the printed it. To get a good impression from a mezzotint I turn my pressure dials all the way down in order to achieve maximum pressure.
One thing you could do is to run the uninked etched plate through the press on dampened paper and if you see the etched lines in relief on the paper you know you have enough pressure.
What ink do you use?
I have been using Gamblin Portland Black for many years and in my opinion it is the best American made ink. However I sometimes use Graphic Chemical 514 Black etching ink, a less expensive ink, for printing etchings that have a lot of different tones of aquatint. This is because this ink has extender or transparent base in it and then the print will show all the differences in the subtle tones of aquatint. The stronger and more opaque Gamblin ink does not show the clear differences between the tones. I often mix 50/50 the Gamblin and Graphic ink together to achieve the correct balance that will give the best print.
Which ink did you use for printing Somerset with a spoon?
When I teach in a place that has limited ventilation I use ink that can be cleaned up with a mixture of water and dawn dishwashing detergent and so for printing monotypes on Somerset with a spoon I use Cranfield Caligo Safe Wash relief inks. I buy mine from Renaissance Graphic Arts.
Which method would you recommend for an absolute beginner?
For an absolute beginner take an evening or weekend class at an open access printmaking studio especially if you want to make an etching because that involves acids the use of which has to be demonstrated by a professional who is teaching the workshop. Non acid techniques that can be done at home include mezzotint and drypoint. Then you need to take the plates to where you can access an etching press.
Did this in high school but would love to go to a course extensive! Where could I go for an extensive workshop and then invest in a small press?
(See answer above). You could also google Printmaking workshops in their area. A local art school or University art department might be offering non credit adult evening classes. One thing to do is to call Renaissance Graphic Arts and tell them where you live and that you want to take some printmaking classes. Ask them if they have schools or printmaking classes in your geographic area to which they sell printmaking supplies to. Of course this customer would have to be a place that offers classes and not an individual artist working out of their own studio.
How many prints on average can you pull from a copper plate mezzotints?
An artist can spend days and even weeks working on a mezzotint plate. The plate can only be printed about six times before the lightest tones become lighter through the abrasive action of wiping the plate and the pressure of the press. That would be very unfortunate. Therefore the plate has to be "steel faced". This coating of infinitesimal thin steel protects the image on the plate from wearing out. This coating itself does not in any way affect the quality of the print. If a mezzotint is plated this way one can print as many as 50 to 60 without any decline in quality. At any time the plating shows a sign of wearing off ( you will see the copper beginning to show through, then the plate should be re-steelfaced. From the webinar you will have noticed that I use the softer tulle fabric to wipe the plate instead of the more abrasive tarlatan.