Aquatint is an intaglio printmaking technique, a variant of etching. Intaglio (pronounced in-TAL-yo ɪn'tælɪəʊ is a family of Printmaking techniques in which the image is incised into a surface known as the matrix or plate Printmaking is the Process of making artworks by Printing, normally on Paper. For other uses of etch or etching, see Etching (disambiguation, for the history of the method see Old master prints.

Intaglio printmaking makes marks on the matrix (in the case of aquatint, a copper or zinc plate) that are capable of holding ink. The inked plate is passed through a printing-press together with a sheet of paper, resulting in a transfer of the ink to the paper. A printing press is a mechanical device for applying pressure to an inked surface resting upon a medium (such as paper or cloth thereby transferring an image This can be repeated a number of times, depending on the particular technique.

Goya - El sueño de la razón, The sleep of reason produces monsters, from Los Caprichos 1799

Like etching, aquatint uses the application of acid to make the marks in the metal plate. For other uses of etch or etching, see Etching (disambiguation, for the history of the method see Old master prints. Where the etching technique uses a needle to make lines that print in black (or whatever colour ink is used), aquatint uses powdered resin which is acid resistant in the ground to create a tonal effect. Resin, not to be confused with Rosin, is a Hydrocarbon Secretion of many Plants particularly coniferous trees. The tonal variation is controlled by the level of acid exposure over large areas, and thus the image is shaped by large sections at a time. Another tonal technique, mezzotint, begins by making a plate surface evenly indented so that it will carry a fairly dark tone of ink. Mezzotint is a Printmaking process of the intaglio family technically a Drypoint method The mezzotint artist then creates his image by smoothing out those areas that he wishes to carry less ink, and thus be lighter in prints.

The technique of aquatint

An aquatint begins with a copper or zinc plate. The artist applies a ground by either dissolving powdered resin in spirits or applying the powder directly to the surface of the plate.

The plate is then heated; if the plate is covered with powder, the resin melts forming a fine and even coat; if it is in spirits, the spirits evaporate and the result is essentially the same. Now the plate is dipped in acid, producing an even and fine level of corrosion (the "bite") sufficient to hold ink. At this point, the plate is said to carry about a 50% halftone. This means that, were the plate printed with no further biting, the paper would display a gray color more or less directly in between white (no ink) and black (full ink).

At some point the artist will then etch an outline of any aspects of the drawing he wishes to establish with line; this provides the basis and guide for his later tone work. He may also have applied (at the very start, before any biting occurs) an acid-resistant "stop out" (also called an asphaltum or hard ground) if he intends to keep any areas totally white and free of ink, such as highlights. Asphalt ( is a sticky black and highly viscous liquid or semi-solid that is present in most crude Petroleums and in some natural deposits sometimes termed asphaltum

The artist then begins immersing the plate in the acid bath, progressively stopping out (protecting from acid) any areas that have achieved the designed tonality. These tones, combined with the limited line elements, give aquatints a distinctive, watery look. Also, aquatints, like mezzotints, provide ease in creating large areas of tone without laborious cross-hatching; but aquatint plates, it is noted, are generally more durable than mezzotint plates.

The first etch should be for a short period of time (30 seconds to 1 minute, with a wide variation depending on how light the lightest tones are meant to be). A test piece may be made with etching times noted, as the strength of the etchant will vary. More than thirty minutes should produce a very dark area. Etching for many hours (up to 24) will be as dark as etching for one hour, but the deep etch would produce raised ink on the paper.

Contemporary printmakers often use spraypaint instead of a powder.

Famous examples

Goya famously took great advantage of aquatint printmaking, in his Los Caprichos (1799); Los Desastres de la Guerra (1810–19); La Tauromaquia (1816); and Disparates (ca. Caprichos is a set of 80 Aquatint prints created by the Spanish artist Francisco Goya during the 1790s 1816–23)

Master engraver Robert Havell used aquatint for John James Audubon's Birds of America (1826-38). The Havell family of Reading Berkshire, England included a number of notable engravers, etchers and painters, as well as writers John James Audubon ( April 26 1785 – January 27 1851) was an American ornithologist, naturalist, hunter

See also

• Jean-Baptiste Le Prince
• etching