Under the Surface Slides Under the Surface
Introduction to Intaglio & Plate Preparation
The Blind Texture Test
Relief Plate
Feel the raised areas. Where does the ink sit? How does it feel against your fingertips?
Intaglio Plate
Feel the scratches. They are below the surface. How will these hold ink differently?
Big Question
If the ink is in the grooves, how do we get it onto the paper?
The Mechanical Flip
1
Relief (The Stamp)
Ink sits on the peaks . The valleys stay white. Think woodcut, linocut, or a rubber stamp.
2
Intaglio (The Reservoir)
Ink sits in the valleys . The peaks are wiped clean. The paper is forced into the grooves.
Groove
Cross-section of an Intaglio Plate
The Bevel Edge
Step 1
We must file the edges of our plexiglass to a 45-degree angle .
Why?
• To protect the press blankets from being cut.
• To ensure a clean "plate mark" (embossing) on the paper.
• To prevent ink from catching on sharp edges.
Image: Metal File & Plate Angle
Degreasing & Transfer
1. Degrease
Use Soy Sauce (mild acid) or glass cleaner and a soft cloth to remove finger oils. Oils repel ink!
2. Tape Down
Place your reference drawing under the clear plexiglass. Secure it with masking tape.
3. Trace (Option)
You can trace your main outlines with a fine-tip permanent marker before you start scratching.
Ready to Scribe?
Tomorrow, we pick up the needles. Your goal for the end of today: A beveled, clean plate with your design ready for the first scratch.
Plate Status
BEVELED
Surface Status
DEGREASED
Intaglio Kickoff Guide Intaglio Kickoff
Lesson 1: Teacher Facilitation Guide
Unit: Drypoint Etching
Grade: 10th Grade Art
Duration
60-90 Minutes
Key Concept
Surface vs. Depth
Skills
Plate Prep, Safety
Learning Objectives
Distinguish the mechanical differences between relief and intaglio printing.
Successfully bevel plexiglass edges to protect press blankets and create a plate mark.
Prepare a clean, grease-free surface ready for scribing.
Required Materials
• Plexiglass plates (approx. 5x7")
• Metal files (flat or half-round)
• Fine-grit sandpaper (optional finish)
• Degreasing agent (Soy sauce or Glass cleaner)
• Reference drawings & Masking tape
• Fine-tip permanent markers
Lesson Flow
00-10 min
The Blind Texture Test
Pass around a pre-cut relief block (linoleum) and a pre-etched intaglio plate. Ask students to close their eyes and feel the differences.
"In relief, we carved away the white space. In intaglio, we are carving the ink space. Today, we prepare our 'vessels' for that ink."
10-25 min
Beveling Demo
Demonstrate holding the file at a 45° angle. Explain that a sharp plate will slice the $4,000 press blankets. This is a safety and maintenance requirement.
Check for Understanding
"Why don't we just leave the edges sharp? What happens to the paper when it meets a sharp edge under tons of pressure?"
25-50 min
Independent Workshop
Students bevel, degrease, and transfer. Circulate and check the angle of the bevels. Use a fingernail to test—if it catches, it's too sharp.
Troubleshooting
Scratched Plates: If students scratch the face of the plate while beveling, emphasize keeping the plate flat on the table and moving the file away from the center.Oily Prints: If ink beads up later, it's because the degreasing step was skipped. Re-clean with soy sauce before scribing. Plate Prep Checklist Plate Readiness Checklist
Name
Date
Before we begin the delicate work of scribing, your plexiglass plate must be mechanically sound. Use this checklist to ensure your "vessel" is ready for ink.
1
The 45° Bevel
File all four edges of the plate. It should look like a miniature picture frame angle.
Smooth to touch
No sharp corners
2
The Deep Clean
Degrease the surface with glass cleaner or soy sauce to remove skin oils.
No fingerprints
Bone dry
3
The Secure Transfer
Tape your reference drawing face-up to the back of the plate.
Design centered
No tape on edges
Plate Map & Notes
Sketch any problematic areas or notes on your design structure here (e.g., where you need the darkest values).
In Art, Preparation is 90% of the Success.
The Burr Factor Slides The Burr Factor
Scribing, Value, and the Physics of the Scratch
The 3D Scratch
A pen line is flat . A drypoint line is a sculpture .
The Anatomy of a Scratch:
1. The Scribe enters the plate.
2. Plastic is pushed to the side (not removed).
3. This raised ridge is called the BURR .
The Burr
The Burr catches ink like a dam catches water.
Building Density
Hatching
Parallel lines. The closer they are, the darker the value.
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Cross-Hatching
Intersecting lines. Creates rich, velvety blacks.
Stippling
Dots and short jabs. Perfect for subtle textures and skin.
......
PRO TIP: Rotate your plate, not your hand, when cross-hatching!
Pressure vs. Value
Light Scribe
• Barely breaks the surface.
• Tiny burr = light grey line.
• Best for background & highlights.
Heavy Scribe
• Deep physical groove.
• Massive burr = deep black line.
• Best for foreground & shadows.
Listen to the plate: It should "sing" (skritch) as you scribe.
Scribing Masterclass Guide Scribing Masterclass
Lesson 2: Teacher Facilitation Guide
Unit: Drypoint Etching
Lesson: 2 of 5
Skill Level
Technical / Precise
Key Tool
Etching Needle (Scribe)
Goal
Line Quality
Demonstration Focus
1. The Angle of the Needle
Show students how holding the needle vertically creates a thin, sharp line, while angling it creates a larger burr on one side (a 'softer' line). Emphasis: We are not drawing with lead; we are plowing a field.
2. The "Hand-Check"
Walk around and have students feel a freshly scribed line. It should feel rough like sandpaper. If it's smooth, they aren't pushing hard enough to create a burr.
Lesson Flow
00-10: Scribe Anatomy (Slide 2)
Explain the burr. Use a magnifying glass or doc-cam to show a profile view of a scratch.
10-25: Hatching Practice
Students use a scrap piece of plexiglass to practice different pressures. They should try to create a 5-step value scale using only line density.
25-55: Main Scribing
Begin work on the main plate. Remind students to work from the "back" (lightest areas) to the "front" (darkest areas) to avoid dulling the burr by resting their hands on it.
Common Pitfalls
Mistake
"The Ghost Line"
Scribing too lightly. The ink will wipe right out of the groove.
Mistake
"The Scraped Hand"
Pushing the scribe away from the body too aggressively. Always scribe toward or across, never with full body weight behind it.
Exit Reflection
"As you work, does your plate feel more like a drawing or a sculpture? Why?"
Hatching Value Practice Sheet Hatching & Value Practice
Technique: Building Ink Capacity through Line Density
Part 1: The Pressure Scale
In each box below, imagine you are scribing on plexiglass. Draw 10 vertical lines, increasing your "pressure" as you move from left to right. Note how the line changes.
Light Grey (Whisper Pressure)
Medium Grey (Firm Pressure)
Deep Black (Heavy Pressure)
Part 2: Density Patterns
Fill each square with the specified scribing technique. Focus on keeping your lines consistent and rhythmic.
Standard Hatching
Cross-Hatching
Random Scribble
Stippling (Dots)
Part 3: Value Analysis
Look at your main reference drawing. Identify the Three Key Values and describe how you will create them on your plate.
The Whites
The Greys
The Blacks
Inky Science Lab Slides Inky Science
The Chemistry of Wiping and Surface Tension
The "Sticky" Problem
Etching ink is extremely high-tack . It's thick, oily, and stubborn.
The Challenge
We must get the ink INTO the grooves, then remove it from the TOP without pulling it back out of the grooves.
Surface Tension Is Key
1. Carding
Force it In
A. Use a plastic card (old gift card or mat board scrap) as a squeegee.
B. Drag the ink across the plate at a low angle.
C. Push against the lines to trap ink behind the burrs.
Image: Carding Angle (45°)
2. Wiping
The "Butterfly Hand"
The Tarlatan
A stiff, starched cheesecloth. We fold it into a flat, smooth pad (the "bunny ear" fold).
The Motion
Fast, circular, swirling motions. Use the weight of your hand only—no pushing!
The Finish
Wipe until the surface looks clean but the lines remain deep black. Leave a tiny bit for "Plate Tone."
The Clean Hands Challenge
Can you ink and wipe your plate without getting a single smudge on your arms, the table, or your neighbor?
Wear Gloves (The "One Dirty Hand" Rule)
Never touch your face or hair!
Inking Wiping Lab Guide Inking & Wiping Lab
Lesson 3: Teacher Facilitation Guide
Unit: Drypoint Etching
Subject: Technical Workshop
Studio Setup & Stations
Inking Station
• Glass inking slabs (clean!)
• Etching ink (Carbon Black)
• Palette knives
• Inking cards (cut mat board or plastic)
Wiping & Cleaning
• Pre-starched Tarlatan pads
• Newsprint (for final polish)
• Vegetable oil / Baby oil (for cleaning)
• Nitrile gloves
Teaching the "Butterfly Hand"
The biggest struggle for students is over-wiping (removing ink from lines) or under-wiping (leaving a messy background). Use these analogies:
The Hover Technique
"Wipe like you're trying to pet a butterfly without touching its wings." If they push too hard, the starched tarlatan will scoop the ink right out of the grooves.
The Swirl Motion
Constant motion prevents streaks. If the tarlatan stops moving while on the plate, it creates a "sticky spot" that ruins the plate tone.
The Clean Hands Challenge
Introduce this as a professional standard. In a pro print shop, getting ink on the paper margins is a "failed print." Students should designate one hand as the "dirty hand" (inking/wiping) and one hand as the "clean hand" (handling paper later).
Studio Hygiene
Rags & Spontaneous Combustion
Used oil-soaked tarlatan and rags must be placed in the yellow fire-safe metal bins at the end of every period. Never leave them in the trash or piled on tables.
Wiping Technique Reference Sheet Mastering the Wipe
A technical reference for maintaining value and clarity in drypoint etching.
01
The Carding Force
Apply a pea-sized amount of ink. Use your squeegee card at a 45° angle . Scrape in all four directions. The plate should look like a messy black rectangle when finished.
02
Tarlatan Scrub
Fold the tarlatan into a flat "pad." Using medium-to-light pressure, swirl in circles. Your goal is to remove the "bulky" ink. Change to a cleaner spot on the pad often.
03
The Final Polish
Once you can see your design clearly, use a piece of crumpled newsprint or your bare palm (the "hand wipe"). Wipe the margins and the highlights until they are gleaming.
Technical Check
Lines are Solid
Lines look dark and "wet," not grey or broken.
Highlights are White
The "white" areas of your design don't have grey smudges.
Edges are Clean
The beveled edges of the plate are wiped completely clean.
Plate Tone is Even
Any intentional surface grey is smooth, not streaky.
Ink is a Liquid. Respect its Flow.
Pressure and Paper Slides Pressure & Paper
The Mechanics of the Etching Press
The Moldability Factor
Dry paper is stiff and brittle . Damp paper is fabric-like .
The Goal:
Under the press, the damp fibers are forced down into the grooves to pick up every microscopic speck of ink.
Paper Prep:
Soak for 10-20 min.
The "Sandwich" Stack
5. Heavy Felt Blanket (Cushion)
4. Sizing Catcher (Protector)
3. DAMP PRINTING PAPER
2. INKED PLATE (Face Up)
1. THE PRESS BED (Metal)
Safety & Maintenance
No Loose Items!
Pencils, necklaces, or loose hair can be crushed or trapped in the rollers. Keep the area clear.
Smooth Cranking
Never stop cranking mid-print. It creates a "pressure line" on your artwork. One smooth, continuous motion.
Total Pressure: Approx. 1,000-3,000 lbs.
The Reveal
Pulling the paper off the plate for the first time is the magic of printmaking. If your paper is damp and your pressure is set, you will see a perfect, embossed image.
Look for:
THE PLATE MARK
Press Safety Setup Guide Press Safety & Setup
Lesson 4: Teacher Facilitation Guide
Unit: Drypoint Etching
Standard: 4 of 5
Paper Prep Specs
Soak: 15 minutes minimum in a clean water bath.Sizing: Explain that water softens the "sizing" (glue) in the paper, making it pliable.Blotting: Use clean towels. Paper should be damp but not shiny with water. If it's too wet, the ink will bleed.
Press Calibration
Felt Order: Thin felt (sizing catcher) goes first, then thick felt (pusher/cushion).Pressure Check: Run the plate through with a scrap sheet first. A good plate mark should be clearly embossed but not cut through the paper.
Facilitating the First Pull
"This is the moment where your work leaves the plate and becomes a print. Move slowly, keep your clean hand clean, and watch the embossing."
Instruction
The Peel
Have students lift one corner slowly. If the image is faint, they may need more pressure or better inking next time.
Instruction
The Drying Rack
Prints must be taped down to a board or placed between blotters to dry flat, as damp paper will buckle otherwise.
Safety Hard-Rules
Finger Clearance: Keep hands 6 inches away from the roller at all times. Never reach under the blankets while the press is in motion.
One Operator: Only the person at the crank should touch the press. Crowding leads to accidents and ruined prints.
End of Session
Ensure the press bed is wiped clean of any ink drips. Release the pressure on the blankets (lower the rollers) so they don't develop a permanent "dent."
Printing Day Protocol Checklist Printing Day Protocol
Master Workflow
STUDENT NAME
PLATE ID #
Step 1: The Wet Lab
Paper Submerged
Is your paper completely underwater in the tray? (Min 15 mins)
Blotted Correctlty
No puddles, no shine. Paper should feel cool and floppy.
Step 2: The Ink Deck
Carded & Swirled
Ink is pushed into every groove using the squeegee card.
Bevels Polished
Are the edges of the plexiglass 100% clean?
The "Clean Hand" Test
Is your handling hand free of ink smudges?
Step 3: The Press
The Stack
Plate (face up) > Paper > Felt 1 > Felt 2.
Continuous Crank
One steady motion. Do NOT stop halfway!
Final Review
After pulling your print, check for:
TEACHER INITIALS
Precision. Pressure. Process.
Chine Colle Magic Slides Chine-Collé Magic
Adding Color and Collage to the Intaglio Process
The Hybrid Print
"Chine" = China (referring to thin paper)
The Secret:
The press itself acts as the glue-maker. We bond thin tissue paper to our heavy printing paper at the exact same moment the ink is transferred.
A "sandwich" within a print.
The Starch Adhesive
We use wheat starch paste or archival glue stick. Why?
It's acid-free (won't yellow).
It's activated by the moisture in our paper.
It creates a perfectly flat bond.
Pro Tip:
Only apply adhesive to the back of your tissue paper. Keep the "good" side clean for the ink!
The Procedure
01
Ink the Plate
Prepare your etching plate as usual.
02
Cut Tissue
Cut colored paper to fit specific areas of your design.
03
Apply Glue
Paste the BACK of the tissue. Place it FACE DOWN on the inked plate.
04
The Big Run
Lay damp printing paper on top and run through the press.
Think Beyond Paper
What else can you chine-collé?
Mixed Media Extension Guide Mixed Media Extension
Lesson 5: Teacher Facilitation Guide
Unit: Drypoint Etching
Final Lesson: 5 of 5
Objective
Students will transcend the black-and-white nature of drypoint by integrating Chine-collé. They will learn to manage multiple layers of paper and adhesive under press pressure to create a unified mixed-media edition.
The Adhesive Secret
Wheat Starch Paste
Traditional and archival. Demonstrate mixing it to a "heavy cream" consistency. It must be applied thinly—too much paste will squeeze out and ruin the plate.
The Archival Stick
A quicker alternative for classroom settings. Ensure students use a light touch to avoid clumping the paper.
Lesson Flow
0-15m
The Magic Reveal (Hook)
Show a print with a delicate, translucent layer of colored Gampi or mulberry paper. Ask: "How did I paint this perfectly inside the lines without a brush?"
15-30m
Cutting & Placement Demo
Demonstrate cutting tissue paper slightly smaller than the intended area. Show how to place it FACE DOWN on the inked plate before running through the press.
30-70m
Workshop & Final Editioning
Students work on their final series. Aim for an edition of 3: one standard black and white, two with Chine-collé variations.
Extension Ideas
Found Materials
Encourage students to use old maps, sheet music, or tea-stained scraps for the Chine-collé layer to add narrative depth.
Watercolors
For advanced students: hand-tint the tissue paper with watercolors before the Chine-collé process for a custom color palette.
Final Critique Prompt
"How does the added color change the mood of your original line drawing?"
Final Portfolio Reflection Sheet Portfolio Reflection
Drypoint Etching & Intaglio
Artist Name
Period
Technical Audit
1. Describe the physical sensation of creating a "burr." How did you know when you were pushing hard enough?
2. Inking and wiping is often called a "balancing act." How did you manage to keep your highlights white while keeping your lines dark?
The Essential Question
"How can the quality and density of a line convey texture, emotion, and shadow without the use of color?"
Chine-Collé Reflection
What material did you choose for your Chine-collé layer, and why?
How did the addition of color/collage change the "story" of your print?
Growth & Mastery
Detail
Value
Craft
