Turpentine, water and ink wash
Materials:
- arabic gum
- nitric acid
- asphalt
- turpentine
- lithographic ink
- shellac
- rosin and talc
- water
The turpentine, ink and water wash is a “dirty, waste” technique that gives very interesting visual effects. It’s difficult to control the effect, but with some experience it is possible. As with all other wash techniques, you can use different types of stencils, “disturbers”…
A mixture of water, turpentine and ink or asphalt (or all of them) is a substance that we get when washing a stone or an inking slab. The dirty rag is usually thrown away, but it can be used to achieve surprisingly interesting results.
A stone with an old, washable drawing (without shellac) or a clean, open stone is painted with the wash – a mixture of water, turpentine, ink and asphalt. A dirty cloth that is used to wash away drawings may be used.
Water and greasy paint will repel each other, so after applying the drawing you will notice relatively fast changes in the composition. You can then lay out patterns, add water, drip with paint or asphalt … You can also simply wipe the surface of the stone as many times as you need to obtain a satisfactory drawing and composition.
When the drawing dries (it can take several hours or more), dust it with rosin and talc, and then proceed with etching.
Strength of the etch depends on the drawing. The denser, stronger and darker the drawing the stronger the etching should be. Etching and its strength are also (as usual) the key factors influencing the final drawing. Gentle washes, with a small amount of ink/asphalt, can easily be overetched, they can disappear.
Remove the etching substance and – when the gum is dry – wash out the drawing with turpentine, then rub it with asphalt (or shellac and asphalt) and wait for it to evaporate.
The next step is rolling up the stone. The wash can take the ink in slowly, but do not be discouraged. It may be necessary to make several proof prints to stabilize the drawing. The second etching depends on the drawing. In this technique the second etching is usually stronger to stop the image from blackening.