Thank you Andrew for this great tutorial I have been searching for an alternative to expensive Photopolymer that I can do at home. But need an oven like yours first!
These tutorials are fantastic. Now I really understand thing and aquatints-I was always vaguer about the latter especially. I really appreciate you clear demonstrations hints and comfortable pace. Best Wishes from Australia :-)
Thanks Hamish. If you need any other advice please drop me a line. Also if you are a user of BIG please consider entering a print to the BIG exhibition. Details on my face book page 'Trefeglwys Printmaking'
Andrew, your videos are wonderful, informative, interesting and oh-so-necessary. Thanks so much for taking the time. I'm a subscriber(believer;) Cheers!
I was going to ask what BIG was, its Baldwin's Ink Ground. A base layer used for etching plates. I'm going back to understanding the printing process basics for a DIY rural community newsletter project on zero funds, no equipment, and environmentally friendly materials.
I have found using polyester litho plates instead of paper in this process to be quite helpful (I never could get the BIG to adhere only to the toner on the paper, and the paper would pill, and stick to my brayer... yuck). It's a fun, lo-fi, inexpensive, process. I pick up 14 gauge (.064"[approx 1/16th"]/ 1.63mm thick) aluminum sheets from the hardware store. Seems to work better on contrasty images.Thank you, Andrew, for the wonderful tutorial and product.
Great demo, Andrew: would have liked to see the print for longer at the end. Anywhere we can look at it for longer online? I've done thousands (literally) of gum arabic transfers straight to printmaking paper, but I am eager to give this a go on probably a copper plate. I assume I could then use a spray aquatint after the BIG ground has hardened...
To make it even easier to see where you apply your ink make a monochrome copy in for instance yellow ( you can do this in photoshop). This way you will see more easily where the ink is applied then on a normal black copy
Gracias por sus amables palabras. Si desea obtener más información sobre B.I.G. Le invitamos a reservar un curso en el estudio cuando el mundo vuelva a la normalidad.
Hello Andrew, I recently bought a Tube of BIG (found it on ebay, the Link you sent me did'nt work) I'm looking forward to do various trials, following your instrutions. Also bought copper-sufate. Still have lots of ferric-mordant/Edinbourgh-etch. The only problem is, I don't have an etching-press and the Museum here in town, which has a nice workshop one can rent normally, is closed because of corona. I'll be back to review your videos, soon. Thanks for now! and best regards Peter
Andrew, I was just watching this video for reference when I noticed my print hanging behind you at 12:38! I'd love to try this technique from home, by the way, but I only have access to an inkjet printer... Hope all's well!
William van Boesschoten Hi Will hope all is well with you. Yes you do need a laser printer or photo copier. I use the town library to get mine done. Incidentally you can also transfer images and text from a newspaper. It will be in negative if you use aluminum though.
SO nice!!!!!! Is there any gramage of paper you will recomend to the photograph print? 80-100 grams? really looking foward to use this. Congratulations :) ready to make my first BIG soft ground right now. All best Andrew
A great tutorial.!!!!Can 't still understand why using copper or zinc the photocopy have to be positive ,if use the positive image the part with no big still will be etched ,then at last coming out a negative image????
Would a plastic transparency instead of paper work. Just added a printing extension to my studio love your tutorials and will try your techniques, products. Have you documented, published all this gold in a book?
Thank you very much for your instruction! I've tried paperlitho before just as a litho. The paper kept tearing apart, so I switched to polyester plates. It works perfectly on zinc with BIG. However, I found out that etching with a negative works best on the zinc in copper sulfate. But maybe I'm doing something wrong?
Hi- I had trouble with the paper disintegrating, perhaps it was because it was recycled paper. I would love to ask this question please: So do you use overhead projector transparencies with a laser printer? and if so, do you then just do the same thing with the gum arabic , BIG and water sponge? Thanks so much. Catherine
Dear Andrew Thank you so much for your great technique. As I am living in Iran and I don't have access to BIG so I have tried this technique with offset printing color. My problem was that after putting the plate in Acid, the color lift up too. Do you have any idea what should I do without BIG?
Payam - it is a bit late for you to get a reply to your question -- but I thought I would let you know of a method to transfer an image onto a plate. Here is a link to another video demonstration, here on UA-cam. ua-cam.com/video/Gcvn-_YSsOI/v-deo.html Do you use Copper sulphate to etch your metal plates? That should be easy to get in Iran.....and then you will be able to do printmaking at home. Copper sulphate + salt is mixed with water to make a liquid - into which you will place your toner imaged plate(from a photocopy or a Laser print). It can etch Aluminium, Zinc and steel. Let me know if you want any further help. I am based in UK.
Just tried this electro etching and it worked very well or would have if I'd done it longer. Unfortunately I didn't let the etch get deep enough but I'll get it next time. None of the RED came off at all and left a very clean etch line even on this very small pattern. I did scratch it off while it was semi dry so still soft. Not sure how easy it would be with a thick dry layer as it's a very hard material when dry. It would be better to me if it could be applied thinner as its hard to spread out to me. I'm not sure if thinners could be mixed in but it would make a lot of mess anyway.
What a concise and generous tutorial, Mr Baldwin: thank you! Would it be possible, if using copper or zinc, to first create a half-tone, bittmapped, image on poyester film, and transfer that, instead of having to use the fauxquatint (see what I did there?!) process with the sugar? I'm wondering whether, since the B.I.G. is non-toxic, one could use a home oven for that step. Hmmmm.....
Excellent Andrew _ I look forward to giving this a go ! I cant help wondering what is the largest Photocopy onto aluminium that you have done so far ( or any other person that you are aware of) ??
Hi Aine, that's a good question. The largest I know of was an A4 but I guess you could tile the image to a much larger size. What some of my students have done is create tonal separations (spot tone) then overlay them to create some great prints. Incident I hope you have had the info regarding the BIG exhibition
You can easily remove the copper oxide that forms on the plate with a dilute nitric acid bath. It will only attack copper oxide as it does not react with aluminum.
Hi Andrew great presentation. I was wondering if you did a demonstration using the same process but with copper plates? That is what we tend to use in our printmaking collective. Thank you ❤Kat Kershaw
Hi Andrew great work you said laser copier , is that mean a laser printer Required photo should be printed with a laser printer to convert into copper/aluminium plate
Muy buena técnica me gustaría aprender más . quisiera saber qué clase de tinta le pone a la fotocopia ,es alguna especial o puede ser la tinta que se usa para grabado?
Hello Adrew, thank you for your explanation on the photo ecthing proces. Very informative for me. I still have one question, why not use a large feather (from a goose for instance) instead of your hand/fingers when cleaning the ecthing. A feather is much smoother. We use it a lot. (in the summer geese loose their feathers and all you have to do is find them in the field and pick them up, for free)
Thank you for this wonderful technique! In order to avoid size modification of the paper, why don't you use lithographic polyesther plate? as it works very well with lazer printer, it could be very useful with your technique!
Hello! Because I can't found in my country gum arabic in liquid state, how can I liquefy it? I found gum arabic only in solid state. Is there any recipe on which the mixture is made?
Dear Andrew, thank you for the great and comprehensive tutorial. I am anxious to receive the BIG I have just ordered to try out your technique. I have one question: the paper for the laser copy you are using on the video looks very fragile and as you are pointing it might expand or form creases. So, is there any reason not to use heavier paper (something in the region of 180 - 220 gr.) in order to minimize the risk?
Hi Spyros, that's a good question. I have tried thicker paper and you're right it does reduce the fragility of the paper however it doesn't reduce the slight expansion. In my recent experiments I have started to use the sheets of paper that support sticky labels. They have a waxed side and a paper side. If you print on the paper side ( the opposite side to which the labels were set) there is far more stability all round.
@@bigetchingground Andrew hi. Its Mike Sells here - I was on one of your excellent courses a while ago. Thanks for this video which is fascinating I would like to try it. Just looking at your comments about Paper and how the process works.... Might it even be an idea to use greaseproof paper and photocopy the image onto that? I was wondering if the BIG would struggle to stick to the slightly shinier surface but would stick okay to the printed parts? It also might be a bit stronger? What would you think? Many thanks Regards Mike
I know next to nothing about printing, but I found this demonstration fascinating! Thanks for sharing it with us. One question I did have was: why not use an iron to transfer the laser toner directly to the metal? People who do hobby electronics sometimes use that method to etch circuit boards with very good results. Seems like going that route might have fewer steps, and the print won't stretch since it's not a wet process.
Hi Andrew, I've been using BIG for a year now with my students and my enthusiasm is as great as when I first discovered it. Thanks again for the great informative videos. However, could you elaborate more on why you're using a positive with the copper plate? I would expect the white areas to remain fairly clean as the gum should repel most of the ground when rolling up the paper. Am I to understand that the white areas are just going to get an open biting? If so, wouldn't this cause problems with very fine white lines, making them potentially darker than the surrounding 'tinted' areas when etched long enough? Wouldn't it be more logical to use a negative and a spray aquatint or even an icing sugar aquatint as you demonstrated with the coffee lift? Thanks in advance
Hi, I'm glad you like the ground. In some ways your right you could use a negative and spray an aquatint. However the problem I have found is that when dealing with ferric and copper the ground laid down is not sufficiently thick enough to stop the ferric getting through. On the other hand because the ground is so thin it does creat a kind of aquatint. This can be further helped if you sprinkle icing sugar into the ground (positive image) before curing. It is a short etch though. In my experience open bite of copper in ferric does not create a significant tone. To be honest I haven't tried rolling over a cured ground with a second ground and then peppering with icing sugar with this process, could be worth a try. Hope this helps.
Thanks for the fast reply, hope to try this technique soon; looks like it could be pretty handy to try and create some interesting composite images. By the way, regarding icing sugar aquatint. I first had a go at it a month or two ago and at first I couldn't get the sugar dissolved, even with boiling (!) hot water. I know you said you shouldn't just use sugar for this, and I remembered in most store-bought icing sugar, there's corn starch. The one I used didn't have ANY in it. So next, I just used plain corn starch without the sugar and voila, it worked like a charm. Did you ever try it, and does the added sugar have any advantage over plain and simple corn starch/flour?
+Zsolt Varszegi I take it from your reply you are from US. I think uk icing sugar has tricalcium phosphate as its de caking agent. I used icing sugar simply as a microscopic sponge which would dissolve in water. I will try the starch. Thanks for that.
Now the question arises: How to buy this Baldwin's Ink ground. And the temperature of the oven, was it Celsius or Fahrenheit? Anyway thanks a lot for this demonstration!
Hi Peter, You can purchase BIG from a variety of places, It rather depends on where you are based. UK Intaglio Printmakers ,Lawrence or Jacksons Art Supplies. USA Takach. Australia Intaglio Print supplies. There are a few others around the world to but you can also order direct from my website printmaking studio.co.uk The temperature is Celsius. You might want to look at my facebook page for more videos and examples of work 'Trefeglwys Printmaking'
Hi both red and black can be used for both soft and hard ground work. You simply work on the ground before curing when using as a soft/ wet ground. See UA-cam demo.
Hello Andrew! In Uppsala we started a studio. We are using BIG all the time now. We like it a lot! We use the HOME STRIP to Remove it. That works great. But we have trouble because Home Strip is only available in the UK. Not in Sweden. So now we have to Pay extra to get it into Europe. In your video you mention BIG can also be removed from the copperplate by using washingpowder in hot water. We tried that but that did not work so well. Mabey we had the wrong type of wasingpowder. What kind do you use? Or is there any other product that is available in other countrys in the EU that works good? Regards: Gijs Weijer UKV
Hi, There are a number of nontoxic paint stripper on the market now that I think work equally as well as Home Strip. In USA they use a product I think is called Seri-solve. I’m not sure if you can get Brasso which is a metal polish but that works very well too. Thank you for using BIG. If you have any other questions please feel free to drop me a line on atb@aber.ac.uk
What a great movie! I will want to try your way - because I admit that it is much, much simpler and faster than the traditional preparation of copper plates. but Could you accurately describe how to prepare a solution for "etching" (12:40 min of film) the image that was fixed in the oven ?? (baked 6min in 130-140 degrees). Unfortunately, I did not understand it well. if I see the composition of this chemistry, it will be easier for me to buy it. Best Regards, Lukas
You have to buy copper sulfate in powder. Almost every artshop that has etching materials will have this too. Mix 100 gr copper sulfate, 100 gr normal salt and 1 liter tapwater and stir it till the copper sulfate is solved.
That makes sense: I use a mixture of powdered chalk (calcium carbonate) and isopropyl alcohol to degrease the glass plates that I use for my wet plate collodion photography. Thanks again!
I note your bottle of gum Arabic and wonder whether you 'make' your own using the 'resin'? I wanted to buy a small amount however the bottles sold are extremely small and pricey? I thought that if I bought the resin I could make my own however I don't know if it is mixed with just water or something else. Would you please advise. many thanks x
Not sure where you are living but gum Arabic is relatively cheap to buy through Intaglio printmakers or Lawrence's in uk or Takach in US. Sorry I can't be more helpful
Thank you so very much for this!! I'm just not following one thing (apologies)...Why does the image need to differ between negative (aluminium) and positive (copper)? Is there an easy way to explain this for me?
Basically the combination of aluminium, copper sulfate saline and BIG mean that even a very thin layer of the ground creates a boundary. Therefore only the open areas etch to create tone. Copper in combination with ferric and BIG can’t create a complete boundary when the ground is thin. What actually happens is that the ground it’s self terns into something like an aquatint. Copper unlike aluminium when open bitten does not create a tone so hence the need for a positive. I’m not sure this explanation will help or further confuse but if you would like more info you can contact me via Trefeglwys Printmakers website or my Facebook page.
Hi Anthony, Firstly this isn't a photo polymer. But I totally agree with you that this technique does not give you the reproductive quality of photogravure. But for me one of the magical aspects of printmaking as opposed to reproductive printing is the evolution of the image through process. I don't see them as imperfections more as exciting changes, producing something new and original. But maybe that's just me.
It works the same as a planographic process ( lithography). The oily ground will not stick to areas that are attracted to water ie the plane paper once coated with gum. The plastic of the laser copy repels the gum but does except the ground. Hope this helps to explain. I was tempted to just say , " It just does".
@@bigetchingground Sorry I know nothing about printing. To clarify when it went through the press the pink solution stuck to the aluminium because ink (ink of the print ) doesn’t absorb water?
Hi, Franck from France. Nice Video, I just bought the BIG red, and ... fail my 1st trials : the wet paper crumbles and sticks to the roll in small pieces 3 times, especially the black copy area. I trust on the technic, and will try again with "polyester lithographic sheet" to increase my chance of succes....
Hi Franck, it does take a little time to perfect the rolling up on the fragile paper. Make sure you reduce the ground a little with lavender oil to help reduce the tack. On the other hand a polyester plate should work well.
Hello Andrew, thanks for quick answer, I used "linseed oil" and not Lavender Oil ... maybe part of the failure. Again : thanks for all of your totorials.
Hi Andrew and everybody, new test today, with "polyester plate" : Big is incredible and works very well. OK Photocopy on polyester plate increase a little bit the cost compare to classic photocopy on paper, but your technic Andrew open a lot of new opportinities. Thank you.
@@JolleseilerenNo this is not a reprographic process but sits firmly within a printmaking technique with all the possible changes (imperfections) to evolve the image into something new and original.
Utterly incredible, I never knew this was even possible. Thank you so much , you have opened up a whole world of possibilities for me. Thankyou.
Thank you Andrew for this great tutorial I have been searching for an alternative to expensive Photopolymer that I can do at home. But need an oven like yours first!
These tutorials are fantastic. Now I really understand thing and aquatints-I was always vaguer about the latter especially. I really appreciate you clear demonstrations hints and comfortable pace. Best Wishes from Australia :-)
Hi Andrew. Great, a new video! Thanks for posting. Rebecca.
Thrilled to have found your videos! I cannot wait to try this technique.
Very useful with adequate information about every step🙏🏻🙏🏻 thanks for sharing🙏🏻🙏🏻🙏🏻
Great demo, will try this technique soon, thanks Andrew
Thanks Hamish. If you need any other advice please drop me a line. Also if you are a user of BIG please consider entering a print to the BIG exhibition. Details on my face book page 'Trefeglwys Printmaking'
Andrew, your videos are wonderful, informative, interesting and oh-so-necessary. Thanks so much for taking the time. I'm a subscriber(believer;) Cheers!
I was going to ask what BIG was, its Baldwin's Ink Ground. A base layer used for etching plates. I'm going back to understanding the printing process basics for a DIY rural community newsletter project on zero funds, no equipment, and environmentally friendly materials.
B.I.G - Boldwin's intaglio ground
Gran tutorial Andrew, muchas gracias por compartir!
I have found using polyester litho plates instead of paper in this process to be quite helpful (I never could get the BIG to adhere only to the toner on the paper, and the paper would pill, and stick to my brayer... yuck). It's a fun, lo-fi, inexpensive, process. I pick up 14 gauge (.064"[approx 1/16th"]/ 1.63mm thick) aluminum sheets from the hardware store. Seems to work better on contrasty images.Thank you, Andrew, for the wonderful tutorial and product.
Thanks very much, needed to check out what it was all about - you were very helpful.
Great demo, Andrew: would have liked to see the print for longer at the end. Anywhere we can look at it for longer online? I've done thousands (literally) of gum arabic transfers straight to printmaking paper, but I am eager to give this a go on probably a copper plate. I assume I could then use a spray aquatint after the BIG ground has hardened...
To make it even easier to see where you apply your ink make a monochrome copy in for instance yellow ( you can do this in photoshop). This way you will see more easily where the ink is applied then on a normal black copy
Señor Andrew muchas gracias por producir tan excelente Barniz para los grabadores y enseñarnos a sacarle el mayor provecho para nuestros grabados.
Gracias por sus amables palabras. Si desea obtener más información sobre B.I.G. Le invitamos a reservar un curso en el estudio cuando el mundo vuelva a la normalidad.
I know now about this technique and how it's hard works by chemical. That's magical power. Sir, you are great. Good night.
beautiful work-----
Hello Andrew, I recently bought a Tube of BIG (found it on ebay, the Link you sent me did'nt work) I'm looking forward to do various trials, following your instrutions. Also bought copper-sufate. Still have lots of ferric-mordant/Edinbourgh-etch. The only problem is, I don't have an etching-press and the Museum here in town, which has a nice workshop one can rent normally, is closed because of corona. I'll be back to review your videos, soon. Thanks for now! and best regards
Peter
Nice hard work that pays off)),thank you ,i like the video
Awesome video … thank you for sharing.
Andrew, I was just watching this video for reference when I noticed my print hanging behind you at 12:38!
I'd love to try this technique from home, by the way, but I only have access to an inkjet printer...
Hope all's well!
William van Boesschoten
Hi Will hope all is well with you. Yes you do need a laser printer or photo copier. I use the town library to get mine done. Incidentally you can also transfer images and text from a newspaper. It will be in negative if you use aluminum though.
SO nice!!!!!! Is there any gramage of paper you will recomend to the photograph print? 80-100 grams? really looking foward to use this. Congratulations :) ready to make my first BIG soft ground right now. All best Andrew
A great tutorial.!!!!Can 't still understand why using copper or zinc the photocopy have to be positive ,if use the positive image the part with no big still will be etched ,then at last coming out a negative image????
Would a plastic transparency instead of paper work. Just added a printing extension to my studio love your tutorials and will try your techniques, products. Have you documented, published all this gold in a book?
Thank you very much for your instruction!
I've tried paperlitho before just as a litho. The paper kept tearing apart, so I switched to polyester plates. It works perfectly on zinc with BIG.
However, I found out that etching with a negative works best on the zinc in copper sulfate. But maybe I'm doing something wrong?
Hi- I had trouble with the paper disintegrating, perhaps it was because it was recycled paper. I would love to ask this question please: So do you use overhead projector transparencies with a laser printer? and if so, do you then just do the same thing with the gum arabic , BIG and water sponge? Thanks so much. Catherine
Dear Andrew
Thank you so much for your great technique. As I am living in Iran and I don't have access to BIG so I have tried this technique with offset printing color. My problem was that after putting the plate in Acid, the color lift up too. Do you have any idea what should I do without BIG?
Payam - it is a bit late for you to get a reply to your question -- but I thought I would let you know of a method to transfer an image onto a plate. Here is a link to another video demonstration, here on UA-cam.
ua-cam.com/video/Gcvn-_YSsOI/v-deo.html
Do you use Copper sulphate to etch your metal plates? That should be easy to get in Iran.....and then you will be able to do printmaking at home. Copper sulphate + salt is mixed with water to make a liquid - into which you will place your toner imaged plate(from a photocopy or a Laser print). It can etch Aluminium, Zinc and steel. Let me know if you want any further help. I am based in UK.
Just tried this electro etching and it worked very well or would have if I'd done it longer. Unfortunately I didn't let the etch get deep enough but I'll get it next time. None of the RED came off at all and left a very clean etch line even on this very small pattern. I did scratch it off while it was semi dry so still soft. Not sure how easy it would be with a thick dry layer as it's a very hard material when dry. It would be better to me if it could be applied thinner as its hard to spread out to me. I'm not sure if thinners could be mixed in but it would make a lot of mess anyway.
What a concise and generous tutorial, Mr Baldwin: thank you!
Would it be possible, if using copper or zinc, to first create a half-tone, bittmapped, image on poyester film, and transfer that, instead of having to use the fauxquatint (see what I did there?!) process with the sugar?
I'm wondering whether, since the B.I.G. is non-toxic, one could use a home oven for that step. Hmmmm.....
I want to be shure about the photo to choose with the zinc plate. A positive or à negative one? And the time in the coper sulfate solution.
Masterclass.❤
Many thanks
Muy muy bien! Felicitaciones 👍 👍 👍
Fantastic. 🌺
Excellent Andrew _ I look forward to giving this a go ! I cant help wondering what is the largest Photocopy onto aluminium that you have done so far ( or any other person that you are aware of) ??
Hi Aine, that's a good question. The largest I know of was an A4 but I guess you could tile the image to a much larger size. What some of my students have done is create tonal separations (spot tone) then overlay them to create some great prints. Incident I hope you have had the info regarding the BIG exhibition
You can easily remove the copper oxide that forms on the plate with a dilute nitric acid bath. It will only attack copper oxide as it does not react with aluminum.
Hi Andrew great presentation. I was wondering if you did a demonstration using the same process but with copper plates? That is what we tend to use in our printmaking collective. Thank you ❤Kat Kershaw
Hi Andrew great work you said laser copier , is that mean a laser printer
Required photo should be printed with a laser printer to convert into copper/aluminium plate
Muy buena técnica me gustaría aprender más . quisiera saber qué clase de tinta le pone a la fotocopia ,es alguna especial o puede ser la tinta que se usa para grabado?
Brilliant video so much cleaner with B.I.G.
Is there something safer for aluminum plate then copper sulfate?
Very interested in this process, not familiar with "BIG" any info would be appreciated.
Hello Adrew, thank you for your explanation on the photo ecthing proces. Very informative for me. I still have one question, why not use a large feather (from a goose for instance) instead of your hand/fingers when cleaning the ecthing. A feather is much smoother. We use it a lot. (in the summer geese loose their feathers and all you have to do is find them in the field and pick them up, for free)
Thank you for this wonderful technique!
In order to avoid size modification of the paper, why don't you use lithographic polyesther plate? as it works very well with lazer printer, it could be very useful with your technique!
Hello did you ever find an alternative to Photoshop? I'm looking as well
Superbe video merci
Hello! Because I can't found in my country gum arabic in liquid state, how can I liquefy it? I found gum arabic only in solid state. Is there any recipe on which the mixture is made?
Dear Andrew, thank you for the great and comprehensive tutorial. I am anxious to receive the BIG I have just ordered to try out your technique. I have one question: the paper for the laser copy you are using on the video looks very fragile and as you are pointing it might expand or form creases. So, is there any reason not to use heavier paper (something in the region of 180 - 220 gr.) in order to minimize the risk?
Hi Spyros, that's a good question. I have tried thicker paper and you're right it does reduce the fragility of the paper however it doesn't reduce the slight expansion. In my recent experiments I have started to use the sheets of paper that support sticky labels. They have a waxed side and a paper side. If you print on the paper side ( the opposite side to which the labels were set) there is far more stability all round.
Thank very much for your super fast reply! I shall keep you posted on the outcome.
@@bigetchingground Andrew hi. Its Mike Sells here - I was on one of your excellent courses a while ago. Thanks for this video which is fascinating I would like to try it. Just looking at your comments about Paper and how the process works.... Might it even be an idea to use greaseproof paper and photocopy the image onto that? I was wondering if the BIG would struggle to stick to the slightly shinier surface but would stick okay to the printed parts? It also might be a bit stronger? What would you think? Many thanks Regards Mike
I know next to nothing about printing, but I found this demonstration fascinating! Thanks for sharing it with us.
One question I did have was: why not use an iron to transfer the laser toner directly to the metal? People who do hobby electronics sometimes use that method to etch circuit boards with very good results. Seems like going that route might have fewer steps, and the print won't stretch since it's not a wet process.
Hi, thanks for your comment. In my experience you can't get the level of transfer to hold a satisfactory image using this method.
Well done. Thank you.
So what would be the advantage of doing this versus transferring over the print via heat? Detail retention?
In my experience you are right. Never managed to transfer the image using heat or chemicals as well.
Hi Andrew, I've been using BIG for a year now with my students and my enthusiasm is as great as when I first discovered it. Thanks again for the great informative videos.
However, could you elaborate more on why you're using a positive with the copper plate? I would expect the white areas to remain fairly clean as the gum should repel most of the ground when rolling up the paper. Am I to understand that the white areas are just going to get an open biting? If so, wouldn't this cause problems with very fine white lines, making them potentially darker than the surrounding 'tinted' areas when etched long enough? Wouldn't it be more logical to use a negative and a spray aquatint or even an icing sugar aquatint as you demonstrated with the coffee lift?
Thanks in advance
Hi, I'm glad you like the ground. In some ways your right you could use a negative and spray an aquatint. However the problem I have found is that when dealing with ferric and copper the ground laid down is not sufficiently thick enough to stop the ferric getting through. On the other hand because the ground is so thin it does creat a kind of aquatint. This can be further helped if you sprinkle icing sugar into the ground (positive image) before curing. It is a short etch though. In my experience open bite of copper in ferric does not create a significant tone. To be honest I haven't tried rolling over a cured ground with a second ground and then peppering with icing sugar with this process, could be worth a try.
Hope this helps.
Thanks for the fast reply, hope to try this technique soon; looks like it could be pretty handy to try and create some interesting composite images.
By the way, regarding icing sugar aquatint. I first had a go at it a month or two ago and at first I couldn't get the sugar dissolved, even with boiling (!) hot water. I know you said you shouldn't just use sugar for this, and I remembered in most store-bought icing sugar, there's corn starch. The one I used didn't have ANY in it.
So next, I just used plain corn starch without the sugar and voila, it worked like a charm. Did you ever try it, and does the added sugar have any advantage over plain and simple corn starch/flour?
+Zsolt Varszegi
I take it from your reply you are from US. I think uk icing sugar has tricalcium phosphate as its de caking agent. I used icing sugar simply as a microscopic sponge which would dissolve in water. I will try the starch. Thanks for that.
Now the question arises: How to buy this Baldwin's Ink ground. And the temperature of the oven, was it Celsius or Fahrenheit? Anyway thanks a lot for this demonstration!
Hi Peter, You can purchase BIG from a variety of places, It rather depends on where you are based. UK Intaglio Printmakers ,Lawrence or Jacksons Art Supplies. USA Takach. Australia Intaglio Print supplies. There are a few others around the world to but you can also order direct from my website printmaking studio.co.uk The temperature is Celsius. You might want to look at my facebook page for more videos and examples of work 'Trefeglwys Printmaking'
can i use something else than BIG? like printing medium or simply oil printing ink?
Have you found an alternative to BIG in Greece?
hello, nice technic. the red BIG you using is hard ground?
Hi both red and black can be used for both soft and hard ground work. You simply work on the ground before curing when using as a soft/ wet ground. See UA-cam demo.
What's copper sulphate?
Hello Andrew! In Uppsala we started a studio. We are using BIG all the time now. We like it a lot! We use the HOME STRIP to Remove it. That works great. But we have trouble because Home Strip is only available in the UK. Not in Sweden. So now we have to Pay extra to get it into Europe. In your video you mention BIG can also be removed from the copperplate by using washingpowder in hot water. We tried that but that did not work so well. Mabey we had the wrong type of wasingpowder. What kind do you use? Or is there any other product that is available in other countrys in the EU that works good? Regards: Gijs Weijer UKV
Hi, There are a number of nontoxic paint stripper on the market now that I think work equally as well as Home Strip. In USA they use a product I think is called Seri-solve. I’m not sure if you can get Brasso which is a metal polish but that works very well too.
Thank you for using BIG. If you have any other questions please feel free to drop me a line on atb@aber.ac.uk
What a great movie!
I will want to try your way - because I admit that it is much, much simpler and faster than the traditional preparation of copper plates.
but
Could you accurately describe how to prepare a solution for "etching" (12:40 min of film) the image that was fixed in the oven ?? (baked 6min in 130-140 degrees). Unfortunately, I did not understand it well.
if I see the composition of this chemistry, it will be easier for me to buy it. Best Regards, Lukas
You have to buy copper sulfate in powder. Almost every artshop that has etching materials will have this too. Mix 100 gr copper sulfate, 100 gr normal salt and 1 liter tapwater and stir it till the copper sulfate is solved.
And one more question: what is the whiting you use to degrease the plates? Is it Sodium Bicarbonate (NaHCO3) or Sodium Carbonate (Na2CO3)?
Hi Spyros, Its neither. It is simply powdered chalk, calcium carbonate.
That makes sense: I use a mixture of powdered chalk (calcium carbonate) and isopropyl alcohol to degrease the glass plates that I use for my wet plate collodion photography. Thanks again!
Thank you.
I will never own a BIG, so could I achieve this by using my rolling mill?
You will never own BIG? The etching ground?
I note your bottle of gum Arabic and wonder whether you 'make' your own using the 'resin'? I wanted to buy a small amount however the bottles sold are extremely small and pricey? I thought that if I bought the resin I could make my own however I don't know if it is mixed with just water or something else. Would you please advise. many thanks x
Not sure where you are living but gum Arabic is relatively cheap to buy through Intaglio printmakers or Lawrence's in uk or Takach in US. Sorry I can't be more helpful
Many thanks for such a quick reply. I'm in UK so will look them up. P.S I find your videos very informative and look forward to more of them.
Thank you so very much for this!! I'm just not following one thing (apologies)...Why does the image need to differ between negative (aluminium) and positive (copper)? Is there an easy way to explain this for me?
Basically the combination of aluminium, copper sulfate saline and BIG mean that even a very thin layer of the ground creates a boundary. Therefore only the open areas etch to create tone. Copper in combination with ferric and BIG can’t create a complete boundary when the ground is thin. What actually happens is that the ground it’s self terns into something like an aquatint. Copper unlike aluminium when open bitten does not create a tone so hence the need for a positive. I’m not sure this explanation will help or further confuse but if you would like more info you can contact me via Trefeglwys Printmakers website or my Facebook page.
@@bigetchingground Thanks so much! Great tutorial!
What is big, and how I can buy this?
Thank you have your Big grounds.
Compared to traditional Photogravure on copper plates, photopolymer is crude.
Hi Anthony, Firstly this isn't a photo polymer. But I totally agree with you that this technique does not give you the reproductive quality of photogravure. But for me one of the magical aspects of printmaking as opposed to reproductive printing is the evolution of the image through process. I don't see them as imperfections more as exciting changes, producing something new and original. But maybe that's just me.
Wait! 11:00 🕚 how was the solution only transferred where the black areas were? This makes no sense to me. Someone please explain.
It works the same as a planographic process ( lithography). The oily ground will not stick to areas that are attracted to water ie the plane paper once coated with gum. The plastic of the laser copy repels the gum but does except the ground. Hope this helps to explain. I was tempted to just say , " It just does".
@@bigetchingground Sorry I know nothing about printing. To clarify when it went through the press the pink solution stuck to the aluminium because ink (ink of the print ) doesn’t absorb water?
Hi, Franck from France. Nice Video, I just bought the BIG red, and ... fail my 1st trials : the wet paper crumbles and sticks to the roll in small pieces 3 times, especially the black copy area. I trust on the technic, and will try again with "polyester lithographic sheet" to increase my chance of succes....
Hi Franck, it does take a little time to perfect the rolling up on the fragile paper. Make sure you reduce the ground a little with lavender oil to help reduce the tack. On the other hand a polyester plate should work well.
Hello Andrew, thanks for quick answer, I used "linseed oil" and not Lavender Oil ... maybe part of the failure. Again : thanks for all of your totorials.
Hi Andrew and everybody, new test today, with "polyester plate" : Big is incredible and works very well. OK Photocopy on polyester plate increase a little bit the cost compare to classic photocopy on paper, but your technic Andrew open a lot of new opportinities. Thank you.
vade2ne So glad it worked out for you.
Couldn’t you have used a laser printer?
Hi Bob, yes photocopier or laser as long as its a plastic pigment based machine
Hey! Looking for your other page on www thinking on taking a class! Still possible?
Yes more than welcome. Either email me on atb1uk@gmail.com or contact me via website www.printmakingstudio.co.uk
Will this BIG be useful and accurate when it comes to raster and fine details etc? SMYK and colour-separations?@@bigetchingground
@@JolleseilerenNo this is not a reprographic process but sits firmly within a printmaking technique with all the possible changes (imperfections) to evolve the image into something new and original.
What is BIG?
at 2 minutes you forgot salt and pepper :) at 12.30 again.
Did you really just clean your metal with soy sauce?
Bravo, may I ask what's all of this for?
Is this Art? NO IT'S NOT!