Intaglio "Dry" Processes
"Dry" intaglio processes are markmaking/drawing processes for intaglio that don't involve etching (acids). This means that the recessed areas of the plate that hold the ink are created using tools. These tools can be traditional tools like a burin (engraving) or electric power tools. Even with traditional tools, the possibilities are enormous.
- A drypoint intaglio mark is created with a scratching tool like a carbide or diamond tip tool. As the tool scratches along the surface of the plate it raises a bur of either side of the mark. When the plate is inked, the bur and the shallow mark hold ink. The marks of a drypoint are very distinct. They are velvety and soft, and can be very dense when inked properly. The hardest part of working with drypoint is wiping the plate. It is difficult to keep the ink on the plate when wiping and even harder to keep the plate from losing its bur. The relative delicacy of the drypoint image on the plate means that few proofs are pulled and edition sizes are small. A highly skilled master printer can get around 50 prints without losing too much of the image whereas a person with less finesse could quite possibly get only one before the plate breaks down. When printing, tarlatans and other rough wiping implements should not be used and hand wiping the drypoint plate will cause less wear on the delicate burrs. Copper is the most suitable plate material for drypoint because of its hardness.
- Engraved lines are very sharp and clear. The burin cuts the plate and when there is a bur, it is removed. Engraving requires a lot of skill and makes beautiful lines. Unlike drypoint, it is stable and easier to print.
- Mezzotint is similar to dry point in that they both utilize a burr to hold the ink. However, they look very different. The mezzotint plate is traditionally marked over its entire surface with a mezzotint rocker. This tool raises a uniform burr on the plate. If the plate is inked at this point, it will be completely black. The artist then uses a series of tools (scrapers, and burnishers) to put the white tones into the plate. The result is a soft tonal image with very rich black tones.
- The scraper and burnisher are the "erasers" of intaglio. I consider these to be important drawing implements and are essential tools for anyone who wants to learn intaglio. It is important to understand the subtractive possibilities of intaglio in terms of developing images and beginning students of intaglio are often given an assignment of developing multiple images on the same plate. The metal plate can be worked and etched and scraped over and over until there is no longer any metal left! It still prints nicely (because of the felt blankets) and the surfaces seem to get richer the more work that is done. I know an etcher who has been using a plate over and over for 16 years!