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 Compositional sketches to scale, 3x4” for the diptych
 More detailed sketches on transparent paper
 Prepping plates: Bar keepers friend + steel wool, brushing in a circular motion to buffer out any scratches on surface of copper
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 Applying degreaser… which is alcohol, but at home, I also just use soy sauce
 Transferring sketch with yellow transfer paper onto copper plates with dried hard ground
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 25 min etch in acid
S.P. #1 "Meet and Kiss"
Value Study "Meet and Kiss"
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 Step 1 of aquatints: blocked out highlights, etched for 35 seconds
 Step 2: Blocking out low-lights, Etch in acid for 45 seconds
 Steps 3 + 4; block out, etch 45 seconds; blocked out more, etched for 1:25; total time in acid 3:30 minutes
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 Comparing both proofs
 S.P. #3
 4th Round of aquatinting to create the darkest-darks. Etched for 1:30 min
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A.P. 1  "Meet & Kiss" 2022
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 Printed several things in the studio today! December 2022
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 Now in 2024, I picked back up on this series to work on the 9×12” etching to go along with the diptych
 I started with a smaller sketch for composition and layout, after doing research. Then I sketched to-scale on transparent paper.
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 I use yellow transfer paper and draw over the same sketch to transfer the sketch onto my copper plate with a hard-ground.
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 The yellow line is my transferred sketch, which I’m using as a guide. I am “drawing” with a scratching tool.
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 This is the piece after I finished drawing into the hard ground, before etching the piece in acid.
 This is the plate after I etched the plate in ferric chloric acid for 1 hour, cleaned off the ground, and I inked up the plate ready for a test print!
 This is my first sequential proof, just with line-etch
 Next time in the studio, I did 3 phases of 1 min aquatints
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 This is the second sequential print after adding aquatint and etching in acid 3 different times.
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