aquatint and messotint on metal


a good background for anything and everything

By Henryk Szubinski

video courtesy of Youtube

GRAPHIC DESIGN from its OLD EOUROPEAN SOURCES could be studied during the early years of the Eastern Eourope known of as in turbulent political times during the 80 s and early 90 s

OLD AND FAMOUS AKADEMIES of art such as in Cracow and Prague of Poland and the Checkoslovakia prior to the Velevet revolution

Affiliated and part of the AKADEMY OF JAGGELONIAN UNIVERSITY the graphics format lasts for 5 years and involves all of the traditional Formats of working with old media.



Mezzotint is a printmaking process of the intaglio family, technically a drypoint method. It was the first tonal method to be used, enabling half-tones to be produced without using line- or dot-based techniques like hatching, cross-hatching or stipple. Mezzotint achieves tonality by roughening the plate with thousands of little dots made by a metal tool with small teeth, called a “rocker.” In printing, the tiny pits in the plate hold the ink when the face of the plate is wiped clean. A high level of quality and richness in the print can be achieved.

Aquatint is an intaglio printmaking technique, a variant of etching.

Intaglio printmaking makes marks on the matrix (in the case of aquatint, a copper or zinc plate) that are capable of holding ink. The inked plate is passed through a printing press together with a sheet of paper, resulting in a transfer of the ink to the paper. This can be repeated a number of times, depending on the particular technique.

Like etching, aquatint uses the application of acid to make the marks in the metal plate. Where the etching technique uses a needle to make lines that print in black (or whatever colour ink is used), aquatint uses powdered resin which is acid resistant in the ground to create a tonal effect. The tonal variation is controlled by the level of acid exposure over large areas, and thus the image is shaped by large sections at a time. Another tonal technique, mezzotint, begins with a plate surface that is evenly indented so that it will carry a fairly dark tone of ink, then smoothing areas to make them carry less ink and thus print a lighter shade; or, beginning with a smooth plate, areas are roughened to make them darker; or, these two techniques may be combined.













if you like the natural effects of weathering and wonder at the loss of times passage the sereene and timless is part of the ways in which art is made by the emotions of the most fascinating force in nature WATER

for it too is a Graphical artist

Here is a piece from Partik Ohearn,





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