Editing Aquatint (section)

==Technique==
[[File:Museo del Prado - Goya - Caprichos - No. 32 - Por que fue sensible.jpg|thumb|left|[[Goya]], No. 32 of ''[[Los Caprichos]]'' (1799, ''Por que fue sensible''). This is a fairly rare example of a Goya print entirely in aquatint.<ref>Griffiths, 150</ref>]]
In intaglio printmaking techniques such as [[engraving]] and [[etching]], the artist makes marks into the surface of the plate (in the case of aquatint, a copper or zinc plate) that are capable of holding ink. The plate is inked all over then wiped clean to leave ink only in the marks. The plate is passed through a [[printing press]] together with a sheet of paper, and strong pressure applied pushing the paper into the marks, so that a transfer of the ink to the paper occurs. This is repeated many times to produce multiple "impressions" (copies).

Like etching, aquatint uses the application of a mordant (acid) to etch into the metal plate. Where etching uses a needle to scratch through an acid-proof resist and make lines, aquatint uses powdered [[rosin]] (resin) to create a tonal effect.  The rosin is acid resistant and typically adhered to the plate by controlled heating; where the grains area will print white, with black areas around. The tonal variation is controlled by the level of mordant exposure over large areas, and thus the image is shaped by large sections at a time.  The rosin is then washed off the plate before printing.<ref>Griffiths, 89–90</ref>

Various other substances than rosin have been used, including [[bitumen]] (asphalt). The necessary qualities are that the substance can be made into a powder, will resist acid, and can be fixed to the copper plate, usually by heating. The shallowness of the areas bitten by the acid accounts for the limited life of the plates, as the depressions in the copper are gradually flattened out.<ref>[[Bamber Gascoigne|Gascoigne, Bamber]]. ''How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet'', s. 17a, 1986 (2nd Edition, 2004), Thames & Hudson, {{ISBN|050023454X}}</ref> 

Aquatint may be the only technique used on a plate, but is very often combined with a linear technique such as [[etching]], especially for outlines, figures and buildings.<ref>[[Bamber Gascoigne|Gascoigne, Bamber]]. ''How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet'', s. 17c, 1986 (2nd Edition, 2004), Thames & Hudson, {{ISBN|050023454X}}</ref> 

Another tonal technique, [[mezzotint]], begins with a plate surface that is evenly indented and roughened so that it will print as an even and fairly dark tone of ink. The mezzotint plate is then smoothed and polished to make areas carry less ink and thus print a lighter shade.  Alternatively, beginning with a smooth plate, areas are roughened to make them darker.  Occasionally the two techniques of aquatint and mezzotint are combined.
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