ILARIA ROSSELLI DEL TURCO
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Ilaria's Notes

Some Tips on Printing a Mezzotint

30/10/2022

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Printing a mezzotint plate is not the easiest thing: it took me a while to understand how to obtain the result I wanted, through trial and error (I've had very little printing tuition). I got some great tips from Mezzotint Essentials by Robert De Groff, a book I strongly recommend.
I find that the most common mistake is to overwipe the plate, but let's start from the beginning. 
My favourite paper is Hahnemuehle, and I use Charbonnel 55981 ink occasionally softened with a little plate oil, so that the consistency is a little runny. 
Aside from when I am printing a proof, I always prepare the paper a couple of days ahead, making a damp pack: I quickly pass the sheets of paper under a tap, then let them drip the excess water and store them in a plastic sleeve inside a bin bag, then I leave it under a board with a book on top.
If done well, there is no need to blot the paper before printing: it will be damp but not shiny ( if shiny, it does need blotting before it's used).
PictureThe ink should flow from the palette knife.
I use a disposable palette for mixing ink and a bit of cardboard for spreading it, so there's less cleaning afterwards. I also use clear plastic gloves for handling the plate and a different pair of gloves for handling the paper: no need of scrubbing the hands clean for every print.

The bed of my press has a squared up acrylic sheet (an accessory of Ironbridge Presses) so I no longer need to prepare a registration sheet beforehand. That's how I used to do it: draw the placement of plate and paper onto a larger piece of paper and on top put a piece of clear acetate that can be wiped clean after each print. Also a  convenient solution when printing different plates, so it's easy to just slide different registration sheets for each splate under the acetate, and these can be stored for future use.

Picture
Picture

I don't own a professional hot plate: this is my low tech plate warmer. The plate should not be too hot that you can't even hold it, just warm. Once the surface is covered with ink I start wiping with a circular motion with the classic ball of tarlatan, and when the image appears I change motion to a swipe. As soon as the bulk of the ink has been removed, I take my gloves off and finish wiping with the palm of my hand, gently stroking the plate and wiping a little more with my fingers in the lighter areas. I don't use any chalk powder on my hand, I just wipe it on the apron before and between passes.
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Picture
The plate after wiping with a vigorous circular motion. I then wipe lightly from side to side with a cleaner tarlatan and finish wiping by hand.
I clean the sides of the plate with a piece of cloth on which I spilt a few drops of alcohol then place the plate on the press bed. I then wear the clean printing gloves and carefully place the paper over the plate, then a piece of tissue paper on top as well as an extra piece of felt to add  pressure. I have two blankets in the press, both light swanskin, pressed felt. I set my press tight: it's not a geared one, so I use all of my body to turn the wheel.
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The printing sandwich: registration sheet, acetate, plate, Hahnemuehle paper, tissue paper, felt.
And voila. The prints go in between cardboards and under a pile of books for a few of days so that they dry flat. After printing I clean my plates sprinkling Zest It (citrus solvent) and brushing with a soft toothbrush and again with alcohol ( methilated spirit). 
Oh, and I was forgetting the most important advice: give it a day ! Or at least a couple of hours. If you are printing the first proof, don't rush to clean the plate and start scraping everywhere again. A print always holds an element of surprise when we lift the paper off: allow the first proof to "sink in" and see if maybe it might suggest a slightly different direction,or level of finish. Maybe some precise detail is not needed, or the scene needs a little murkiness, less contrast, softer edges. Look at the proof with fresh eyes and be open to change your original plan. 
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    Ilaria Rosselli Del Turco is an Italian painter and printmaker living in London. 

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  • Painting
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    • A Matter Of Light
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