Sarah Rishel

My approach to printmaking centers on the subtle detail, richness, depth and texture that are unique to intaglio etching. I am intrigued by motionless scenes of trees and countryside. I translate observations of the world around me into images that embody semblances of reality.The Creative Process: Intaglio etching and aquatint involve a progression of stages employing the use of metal, acid, ink and paper. I begin by coating a flat metal plate with an acid-impervious “ground” made of beeswax and asphaltum. The lines of the image are drawn into the ground using steel needles. The plate is immersed in a Nitric Acid bath, biting the image into the plate. Tone is achieved with the addition of three to seven layers of aquatint. Aquatint involves spraying a thin layer of paint on an already etched plate. The plate is again immersed in a Nitric Acid bath and the exposed areas bitten. Printing the intaglio etching involves several operations. Each image is printed with an earthy glow of color which is created by blending three different hues of ink directly onto the plate. The surface is then wiped clean with stiff Tarlatan, leaving ink only in the incised areas. The inked plate is placed on the bed of an etching press to be hand printed.Dampened Murrillo etching paper is placed on the plate. Felt blankets are placed on top of the prepared plate. Considerable pressure is applied to the plate as it moves through the etching press; the paper is actually forced into the recessed areas to pick up the ink. The great pressure required picking up the ink in the intaglio etching leaves a visible plate mark within the margin of the uncompressed paper. Some images are further enhanced with the addition of watercolors. All images are my own; I create all the plates and print each edition totally by hand.