In Part 1 of my recent course with Basil Hall I worked on 2 colour etching plates.  That 2 day workshop encouraged a small number of us to visit Basil in his studio for a further 2 days of printmaking.  Having already worked with him 10 days prior I understood better both the processes and technical choices on offer and so was more prepared.

I decided on a photogravure technique using one of my own drawings as the source image.  In December 2017 I drew a Banksia and decided that would be my first subject.  The aim was to produce an image that resembled an old page from a flora specimen book; scratches and a little discolouration included.

Without going into great detail, suffice it to say that the image was enhanced, printed onto clear film, transferred to a photo sensitive surface atop a zinc plate, then etched.  Additional drypoint work was applied to improve the transfer before cleaning and inking the first proof.

This was looking pretty good as a trial proof but had (unfathomably) picked up 2 unintended linear scratches.  Time was spent burnishing the plate to remove them and adding drypoint to other areas to bring out more detail.  The rest of the marks, ‘dirt’ and scratches were fine in the context of the project.

Chine collé was prepared and 4 prints were taken.

A lovely result, currently drying under weights before adding the relevant annotations.