Etching Ink
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Charbonnel Inks
The range of Charbonnel colours has been
redesigned by our laboratory to increase
their qualities and obtain a more balanced
colour chart. Some colours have been
improved in terms of power, wiping and
siccative properties and ligntfastness. New
colours such as gold and silver have been
added.
Packaging : 60 ml tubes, 200, 400
ml and 800 ml jars (black only).
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Before applying these grounds, it is imperative that
all grease be removed from the plate. To do this, thin some Marly
white with a small quantity of water and rub the plate with a soft
cloth or a piece of cotton. Rinse under flowing water. Pour a soured
solution of vinegar and salt on the plate. Rince once again. Avoid
putting fingers on the plate whilst carrying our these operation. - Charbonnel hard black ball ground (solid) : Wrapped in a piece of taffeta which serves as a filter, the ball is rubbed on the pre-heated metal plate. Dab on the ground to obtain an even surface before smoking. The matt black finish obtained makes etching work very clear. - Lamour hard black ball ground (solid) : This ground is used as above. It is however, not quite as hard as Charbonnel ball ground. - Charbonnel soft black ball ground (solid) : I A painting dabber is recommended for application. It is applied hot. - Liquid ground engraver Ultraflex : Apply it cold to the plate with a very supple brush, or plate coating device or pour it directly onto the inclined plate. Due to its transparency, it is suitable for a second application and reworking. - Black stain ground engraver Lamour : It is applied in the same way as Ultraflex liquid ground. It allows a long etching time with no risks of scaling. It dries faster than Ultraflex due to the presence of quick drying petroleum. It is also harder than the Ultraflex ground and, therefore, result in finer lines. |
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Retouching grounds
After leaving the plate in acid for the
required time, remove the plate from the
acid bath solution and remove the ground
using the appropriate thinner. The amount of
time you leave the plate in the acid depends
on the acid's strength (mesured using an
acetometer), the room temperature and the
depth you wish to give the stroke. The
etching is then ready and only the finishing
touches need to be applied. A retouching
ground can be applied to the plate which may
then be retouched as required following the
lines of the previous etching.
- Liquid transparent ground : It is applied cold with a paintbrush. It is slow-drying and lets the previous etching show through.
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Rebiting grounds
It dries slowly and
remains supple for a long time. It is
applied hot. It can be used for soft ground.
- Lamour soft black ground : It dries slowly and remains supple for a long time. It is applied hot. It can be used for soft ground.
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Protecting varnishes
Thes are applied cold with a paintbrush.
Applied to the back and the edges of the
plate, they serve to protect thes parts from
the bite of the acid. They are extremely
resistant
Black covering ground Lamour : It is particularly recommended for aquatint techniques.
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Oils for etching
To be mixed with the inks according to the
viscosity required. Thes oils also play an
aesthetic role by increasing the
transparency of the colour and enhancing its
gloss.
The oils are classified here in increasing order of viscosity :
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Tools and accessories
1/ Powdered bitumen: Used in Aquatint
technique. Black grain, different from the
resin. Mixed to the varnish, its improves
their resistance in the acid.
Packaging : 500 g and 1 kg bag. 2/ Powdered resin: Used in Aquatint technique. Packaging : 500 g and 1 kg bag. 3/ Marly white: to take the greases marks out of the metal sheet. 1 kg bag 4/ Tarlatan: to wipe the inks 5/ Butter muslin: to make the ink. comming back up from the engraving 6/ Smoking taper: to smoke out the metal sheet 7/ Borderintg wax: used to edge sheet which are too big to be put in the acid 8/ Acid mesurer 9/ Silk dabber for ball ground,: to apply the varnishes 10/ Swarfega soap: to wash hands
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