Proofing

A first proof can now be made to assess the condition of the plate and ink is prepared for that purpose. Etching ink must have the right tack or stickiness to transfer properly from copperplate to etching paper. A blend of finely ground pigment, cold-pressed linseed oil, various materials to promote or retard drying, and add transparency or opacity are mixed together. For suitable consistency, the ink should be slowly falling but not flowing off the knife. This condition, created by needing the ink many times with an ink knife, produces the most even wiping characteristics and the clearest impressions. The densities of black can be modified by mixing black ink with sepia, burnt umber, blue or red as best fit the image.

Ink is applied to the warmed copperplate using a brayer, allowing it to settle into all the crevices. Further worked into the crevices using tarlatan (a cheesecloth-like material) in a circular motion, the ink is then wiped by gradually reducing the pressure, leaving more ink in the deeply etched shadows and less in the highlights. Each stroke of the tarlatan, however, drags some ink out of the shadows and spreads it over the highlights. This can be used to impact plate tone or reduce contrast in specific areas, while proceeding from light to dark areas of the image will enhance contrast.

Finally, the white areas of the plate are wiped by hand with a fine powder of French chalk. Often, a final light stroke of clean tarlatan over the entire plate is applied to enhance the blacks. After cleaning the beveled edges, the plate is ready for the first proof.

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