Living Prints® Engraving On-line

Enhancing lines, polishing plates

You have come into the engraver's studio after some lines have been engraved with the burin. He stops from time to time to check his progress by enhancing the lines and polishing the plate.

Enhancing the lines makes them easier to see. As the engraver works--in this instance from drypoint preliminary lines to engraved lines--the lines turn black if some rubbing compound is applied. This has a polishing effect, and the compound turns black, fills the lines and shows how the ink will be trapped in drypoint and engraved lines.

In the two photos below you can see how this works. The rubbing compound in this studio is ordinary automotive finishing rubbing compound, a coarse grade labeled "DuPont No. 7". An alternative is the finer "polishing compound" and the kitchen product called Brasso. The art supply stores sell Putz Pomade, which is highly regarded by print makers. It has many uses around the print making and metal crafts studios.

In the pictures, you might be able to detect with your own eyes the difference between the engraved lines (above of the horizontal line) and those lines that are only scratched, or drypoint, lines.

By working rubbing compound over the copper plate, a black residue builds up and fills the lines, giving us a preview of how the lines look.

A close-up shows the difference between the engraved lines and the drypoint lines. The engraved lines are in the upper part, the drypoint lines are in the lower part of the image.

An alternative to rubbing compound is, of course, intaglio ink--just as it will actually be used. This has the advantage over rubbing compound in that ink does not polish the plate, whereas rubbing compound may. The drawback with ink is that it is harder to clean off, being soluble only in cleaning solvents or vegetable oil. Rubbing compound may not be easier to clean off, though.

First time visitor?

You may have come into the artist's studio part-way into the process. You may wish to see what else has happened, or skip ahead by selecting highlighted words. Below, you can find the notes, journals, diaries and papers of the others involved in print making.

	Artist's Diary	The artist provides the vision and imagery of the living print, laboring after the compelling image.
	Curator's Log	The curator is seldom seen but is always seeing to it that the living prints' records are correct and rules followed.
	Printer's Notes	The printer performs many tasks to keep prints alive, crafting and designing solutions to problems the artist, curator and publisher propose.
	Publisher's Journal	The publisher produces the bases for living prints by supporting all the players and keeping communications clear and on course.
	Professor's Papers	The professor explains the living print, the history of printmaking, and keeps the academic community informed.