Drawing into copper is like no other form of drawing. There is just something about the way the sharp tool glides across the metallic surface. Each mark is recorded, the depth of line, the rigidity of the line, the smooth curve, each one becomes a permanent element on the coppers surface. Other textures can be created with the use of acids, but the act of drawing on the copper is still my favorite. Once my drawing is completed, I smother the plate with a thick layer of oil based etching ink. After I have ensured the ink has been pushed into every grove I begin the process of removing the excess ink. When gently wiping away the ink my focus is to reveal the peaks of my textured plate. This process in very meditative and relaxing as there is a rhythm to it. This step of the process/technique ensures a large variety of tonal variations, which not only shows off all the drawn elements but also livens up the etching. Once there is a skin of ink left on the surface, and I am satisfied with the plate it is time to begin the next phase.
Before I had begun the inking process I had taken the time to fill up a basin with water and submerged a number of cotton rag paper sheets into it. I do this so that the paper had time to absorb the water and become supple. Once I have prepared the copper plate I take a sheet of paper out and use a towel to pat off any of the water on the surface. Afterwards I place the inked copper plate on to the bed of the etching press, and gently lay the supple paper on top. Then I put three specially designed blanks on top of the paper, and I am now ready to pull a print. Much like a pasta maker, I grab the handle on the side of the etching press turn it in order to roll the bed of the press through to the other side. Everything on the etching bed, copper, paper, blankets are all sandwiched under a very heavy metal rolling pin. Once everything is clearly on the other side of the roller, I pull back the blankets revealing first the paper. The paper has been embossed by the plate, and when I begin to pull the paper back a mirror image of my drawing begins to reveal itself. Magic! It’s always so magical, you can change the colour of ink, you can change how little or how much ink you leave behind, but the goal is to try to make each one exactly the same.
When working in lino cut it’s the grace found in bold solid marks, in monotype it’s the loose painterly mark making, in lift print it’s the touch of direct drawing, in lithography it’s how the surface becomes the teacher, in collograph it’s the chance to build, all of it, all printmaking for me it is about the layers, the process, the ability to print the matrixs again, the play, the building of a story, and the endless possibilities. Every single time I pull that paper back, regardless of the print method or techniques used, it is always the best part. It’s the Magic.
Trina Ganson 