Intaglio induction workshop

I wasn’t sure I really wanted to get into etching but went along to make up the numbers. And I’m glad I did. I still don’t feel drawn to etching with copper plates, with the chemistry that involves, but the induction starts with using plastic plates which feels more immediate and less stressful.

I used my plate to make a range of marks with different tools, including sandpaper and an ordinary screw. I learned that it’s the inking up that really makes the difference. My first attempt was OK but the second attempt, when I worked on pushing the ink into the grooves in the first stage before taking ink off in the second stage was much better.

I forgot my camera so many thanks to fellow student Nic Clarke for the photographs.

160818 Intaglio Induction 03 inking the plate

inking up

160818 Intaglio Induction 08 my plate in the press

my plate on the Rochat press

160818 Intaglio Induction 09 what about the workers

harder work than I thought








The most interesting part was when we layered up our plates. We realised that the third plate bore traces of the previous two which transferred from the print so we could also take an offset print, which was more subtle. We played with adding embossed shapes too, though this was very hard to see on the darker print.

160818 Intaglio Induction 12 three multi layered prints

three plates layered; then two prints offset from the third plate

160818 Intaglio Induction 04 plate after overprinting

the third plate to be printed, with the traces of the first two transferred from the print









160818 Intaglio Induction 10 shapes for embossing

using scraps of plastic as embossing plates

160818 Intaglio Induction 11 embossed offset layered print, dark layered print

embossed shapes more visible in the paler offset print