The first step in creating a copper etching is preparing the plate: degreasing the surface, filing the edges, and applying an acid-resistant backing. A thin oil-based ground is then added—hard liquid ground for sharp, precise lines or soft ball ground for textured marks. For hard ground, an etching needle removes the ground to expose the copper. For soft ground, drawing on a sheet of paper over the plate can transfer design as the pencil impression lifts the soft ground.
The copper plate is etched using ferric chloride, which reacts with the exposed areas where the ground has been removed. Every 5–10 minutes, the plate is rinsed, degreased (I use soy sauce), and inspected with a botanical loupe to check the depth. While etching times vary, most plates began with a 30-minute bath. The resulting etch, or "bite," is shallow (less than 1 mm).
To create a first proof of an etching, sheets of printmaking paper are soaked for an hour, and the plate is cleaned with solvent to remove the ground. A thick oil-based ink is applied, filling the etched lines and coating the surface. Excess ink is carefully wiped away with stiff tarlatan, leaving ink in the grooves. Old phone book pages are used for a final wipe, cleaning the surface while preserving the “plate tone.” This precise wiping process requires skill to avoid over-polishing, which could remove ink from the etched lines.
Once the plate is wiped, it’s placed on the bed of an etching press, and the blotted, soaked paper is laid over it. Soft wool felt blankets are placed on top, and the setup is run through the press under high pressure. The hand-cranked press, driven by a gear system, ensures the damp paper is pressed firmly into the inked copper lines. Finally, the paper is peeled away to reveal the reverse image of the plate.
After the first proof, the plate often undergoes additional etches and proofs. For this series, each copper plate went through multiple etching stages. To add tonal values, I used aquatint—a process where a fine mist of black spray paint is applied to a de-greased plate, covering about 50% of the surface with tiny dots. Areas intended to remain “white” or “plate tone” are immediately coated with stop-out to prevent etching.
The plate is then etched in short intervals: 5 seconds for pale grey, 15-20 seconds for mid-grey, and a few minutes for dark grey. Between each interval, the plate is rinsed, degreased, and stop-out is applied to preserve the lighter tones before re-etching for darker values. Once the proof matches my vision, I print the final edition, which typically includes 1 to 20 hand-pulled prints.