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After proofing, the copperplate is trimmed to final size, beveled,
cleaned and retouched with burins, roulettes, burnishers or dry
points if needed. The beveled edges which will leave a plate mark
embossment distinctive of an etching must be completely smooth in
order not to hold any ink during printing. If an edition of more
than five or six prints is anticipated, the plate needs to be steel-faced.
A fine coat of steel, applied by electrolysis will protect the plate
from ware in inking and pressure from the press during printing.
The plate is now ready for final printing. A decision is made regarding
the size of the edition, in my case, I have printed editions ranging
from five to one hundred prints. After drying, each print qualifying
to be in the edition will be numbered, signed and embossed with
the studio chop mark. Imperfect proofs will be destroyed and the
copperplate cancelled so that further editions are not possible.
Traditionally, an edition includes three to five artist proofs (AP),
one reference print (BAT) and one or two printer’s proofs (PP).
When a duo-tone effect is desired, the plate is printed in "chine-colle".
In such case, a thin washi (Japanese paper) such as gampi can be
combined with a heavier sheet of paper during printing, which will
give an additional tonal effect and separate the image area from
the whiteness of the paper. It is called chine-colle in reference
to the Asian paper (once upon a time from China, now almost exclusively
from Japan) glued onto the base paper. The gampi is cut the size
of the image, an archival quality adhesive is applied, it is then
carefully placed on the plate, the base paper is then placed on
top of the gampi and rolled through the press. In my case, I often
use this technique to apply color to distinct areas of the print,
in a painterly manner.
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