I drew from the same pose on 2 copper plates, and etched and printed them in the Argos etching workshop that afternoon and the next day. The first plate was prepared with a soft ground; the second plate was prepared with a red BIG ground (such as this plate).
Soft ground etching (15 minute etch),
with aquatint background (2 minute etch)
Ghost print of the above
Soft Etching Ground
Applying the soft ground to the plate,
and placing on a hot plate
Rolling the soft ground on
with a brayer
Letting the copper plate cool,
below the hot plate
The next day I drew from the model, with a 4B lead (probably) in a lead holder, on newsprint paper, over the copper plate coated with the soft grounds.
I taped the copper plate to a board;
and also the top of the newsprint to the same board
The lead holder with a dull 4B lead,
also note the tape on the bottom of the paper
The final newsprint drawing
Pulling the newsprint away.
one can see the marks in the soft ground
The soft grounds left a nice sepia drawing
on the reverse side of the newsprint
The plate was etched in ferric chloride
After the etch, there was a test to see if the acid bit enough into the plate. A small section of the soft ground was taken off, and a needle was placed on the plate to feel for relief.
Testing the etch
The plate was inked with
black Gamblin etching ink
First stage print
Plate with "stop out"
Shaking on the rosin dust,
from a ball of dust inside panty hose nylons
Melting the aquatint rosin
on a hot plate;
note the telephone book paper below,
to protect and keep the contact paper
on the back of the copper plate
from peeling off
Etching for 2 minutes
Soaking the plate in alcohol
with a piece of newsprint on top
to better hold the solvent on the "stop out,"
making the "stop out" easier to remove
Highlights were taken off with a sharp Q-tip
(this did not work)
The plate and the prints
MIXED HARD GROUNDS
that made the above etching