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184

First Etch Process 185 1 Michael Pellettieri placed the stone on the 3 Pellettieri and Ono then did the first etch. image and the experience of the artist or This etch is applied with a smaller brush, and bed of the press, as shown in the photo. Usually, the used in stone master lithographer—is devised to help the solution is kept moving for 2 minutes. The

Lithographic stones (and plates) are always is a combination of determine the ratios of acid to gum arabic surface of the stone is then blotted with LIT H

drawn leaving a margin 2 to 3 inches wide and drops of 70% nitric acid, but at the Art for crayons of difering grease content. In towels to absorb the solution and dried. OGRAP all around to provide adequate start and Students League the nitric acid for stone general, a weaker etch is used for less greasy

finish spaces when the stone goes through lithography is diluted to 35%, for safer and crayons, and a stronger etch for greasier 7 As shown in the photo, Ono applied a local HY the press. Pellettieri marked the location of more subtle etches. The technique the artist crayons. Dark and scratched areas must also etch of 17 drops of acid mixed with 1 ounce of the stone’s front margin (where the stone will has used when drawing on the stone afects be strongly etched to ensure that very small gum arabic on parts of the tusche area. (This first go under the press’s pressure) by placing the etching process: For example, overlays of areas between crayon marks do not fill with spot-etch is applied with paper towels.) The a narrow strip of masking tape on the press multiple washes may look delicate but may during . strongest etching solution was then used on frame and another, matching strip of tape on require a stronger etch. Unlike , in areas with the darkest tones. For a #1 crayon, the side of the press bed. The location of the which a plate is usually submerged in an acid 5 Ono starting etching the sky areas. The 20 to 25 drops of nitric acid are added to stone’s back margin (where the image will bath, lithography requires that the surface lightest etching solution is first applied to the 1 ounce of gum arabic; the solution is kept stop printing) was also marked as well with of the stone (or plate) be etched locally with entire stone. For a #1 crayon, 15 drops of nitric on the stone for 2 minutes before blotting masking tape. diferent strengths of acid, depending on the acid are added to 1 ounce of gum arabic. The and drying. character and amount of drawing medium(s) printmaker applies the etch with a sof wide 2 Tomomi Ono then applied a mixture of talcum on each area of the image. The photo shows brush and uses the brush to keep the solution 8 Finally, Ono applied gum arabic to the whole and rosin powder over the entire surface of Ono checking the pH of etch mixtures with moving on the surface for 4 minutes. The surface of the stone to even it out and to the drawing and wiped of the excess with litmus paper. stone is then bufed and dried with clean sof replace the etch prior to inking. The stone was a paper towel. Talcum powder protects the cheesecloth. then bufed and set aside overnight to “settle” image from being washed out with water 4 Etching of various strengths were the stone, letting it fully absorb the etch. and helps the etch solutions sit evenly on the prepared in advance, and areas of the stone 6 The medium-strength etching liquid was then (When working on an aluminum plate, the stone’s surface; rosin protects crayon work were tested. The photo shows notes Pellettieri used to spot-etch scratched areas and areas resting time is only 45 minutes.) from being burned by corrosive nitric acid. made on the margin of the stone regarding with medium tone (in between the lightest and strengths to be used in various areas. Usually, the darkest tones). For a #1 crayon, 18 drops of an etching table—based on the particular nitric acid are added to 1 ounce of gum arabic.

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Photos in this series courtesy of Michael Pellettieri.