DAVID LADMORE
PRINTMAKING PROCESS




image of tools used in the printmaking process
hand tools mostly unchanged since Rembrandt; fine tuned instruments, many hand-made



image of David Ladmore drawing into a hardground covered copper plate to expose the copper in preparation for etching
plate and wax ground showing drawn image



image of prepared copper plate being suspended in a tank of ferric chloride
plate is placed in tank of ferric chloride to etch image



image of plated being cleaned after having been etched with ferric chloride
removing wax ground to reveal image



image of David Ladmore using a scraper to manipulate an image
using scraper to manipulate image



image of David Ladmore inking a mezzotint plate
inking mezzotint plate to reveal finished image



image of David Ladmore using a roulette wheel to apply finishing touches to a mezzotint plate
finishing touches



image of David Ladmore hand wiping a mezzotint plate
hand wiping



image of David Ladmore wiping out highlights on a mezzotint plate
precision wiping



image of David Ladmore revealing a finished print
finished print




TYPES OF HAND-PULLED PRINTS



ETCHING detail
image of figurative etching Traveller by David Ladmore detail from figurative etching Traveller by David Ladmore
-hard wax ground is laid on copper or zinc plate
-image is drawn with fine stylus into ground
-plate is then placed in bath of ferric chloride for a specific time to etch grooves
-ink is rubbed in and carefully wiped to reveal image
-image is transferred to damp paper under high pressure from etching press
-characteristics: fairly dependable; larger edition possible



DRYPOINT
detail
image of figurative drypoint Figure Study V by David Ladmore detail from figurative drypoint Figure Study V by David Ladmore
-image is drawn directly into copper using very sharp steel stylus
-ink is carefully applied and wiped to reveal image
-less pressure applied to print to paper
-characteristics: temperamental, difficult process; only small editions possible; exquisite delicate and velvety print, much sought after; can be used to augment bitten line etching



MEZZOTINT
detail
image of figurative mezzotint James Bay Interior III by David Ladmore detail from figurative mezzotint James Bay Interior III by David Ladmore
-plate is covered with a matrix of thousands of drypoint burrs with a stylus or specially shaped rocker
-image is created using scrapers and burnishers
-plate is inked and wiped
-image is transferred to damp paper under high pressure from etching press
-characteristics: lengthy elaborate process; good for tonal image; deep rich blacks; only small editions possible



MONOTYPE
detail
image of monotype Abkhazi #14 by David Ladmore depicting a stone pathway with Rhododendron blossoms at the Abkhazi Gardens, Victoria, BC detail from monotype Abkhazi #14 by David Ladmore
-printing ink applied directly and spontaneously to blank copper plate with brush, fingers or cloth
-less pressure applied to print to paper
-characteristics: single image; versatile and expressive


Note: It is possible to use any of these processes to augment or modify each other, for example:
-etching with drypoint
-drypoint with etching
-etching with mezzotint


HOMEPAGE

back to earlier work




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