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Re: Etching Question



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This discussion has evolved from a printing one to an oxidising one.  =
Rather than using the plates in a registered formation, I am using them =
in a "puzzle" structure, and have specifically chosen the two different =
types of plate (copper and zinc) for the diversity of effects which each =
manifests by virtue of its metallurgical composition.  I cut the plates =
with very strong acid in order that they would comply with one another, =
like a puzzle.  But I am a little worried at the response - is oxidising =
of colour bad for the print as a print?  What else would oxidising =
affect?


Also, thank you everyone, who responded to my queries.  I discovered, =
that yes, it was the weather which was effecting my printing - it was =
also drying my paper too quickly.  Also, that a large area of this =
problem was due to the discrepancy in thickness of the two plates.  So =
now, I am printing them separately on a register drawn onto the press =
bed.

Does anyone out there have experience with making chine colle on a =
two-plated etching?  This is the same work, and I initially envisioned =
sending the whole thing through the press in one final gesture, but as =
this is not to be, I am nervous that should I use chine colle in the =
first plate, it will be torn off by the impressing of the chine colle on =
the second.  Are there any alternatives to chine colle - I was thinking =
of doing a toner-based transfer of aspects of my image onto the plate =
and then re-etching it from there..

Thanks for your help.

Robyn Sassen.


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<DIV>This discussion has evolved from a printing one to an oxidising =
one.&nbsp;=20
Rather than using the plates in a registered formation, I am using them =
in a=20
&quot;puzzle&quot; structure, and have specifically chosen the two =
different=20
types of plate (copper and zinc) for the diversity of effects which each =

manifests by virtue of its metallurgical composition.&nbsp; I cut the =
plates=20
with very strong acid in order that they would comply with one another, =
like a=20
puzzle.&nbsp; But I am a little worried at the response - is oxidising =
of colour=20
<FONT color=3D#000000 face=3DArial size=3D3><EM>bad</EM></FONT> for the =
print as a=20
print?&nbsp; What else would oxidising affect?<BR></DIV>
<DIV>&nbsp;</DIV>
<DIV>Also, thank you everyone, who responded to my queries.&nbsp; I =
discovered,=20
that yes, it was the weather which was effecting my printing - it was =
also=20
drying my paper too quickly.&nbsp; Also, that a large area of this =
problem was=20
due to the discrepancy in thickness of the two plates.&nbsp; So now, I =
am=20
printing them separately on a register drawn onto the press bed.</DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>Does anyone out there have =
experience with=20
making chine colle on a two-plated etching?&nbsp; This is the same work, =
and I=20
initially envisioned sending the whole thing through the press in one =
final=20
gesture, but as this is not to be, I am nervous that should I use chine =
colle in=20
the first plate, it will be torn off by the impressing of the chine =
colle on the=20
second.&nbsp; Are there any alternatives to chine colle - I was thinking =
of=20
doing a toner-based transfer of aspects of my image onto the plate and =
then=20
re-etching it from there..</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>Thanks for your help.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>Robyn Sassen.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV></BODY></HTML>

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