On the lead up to lockdown at West Yorkshire Print Workshop I was in the process of researching a way of transferring photographic images and drawings onto lino using caustic soda solution. I believed that the photo etch emulsion that is used with metal plates could work on lino. During what time I had before the workshop closed Its doors, I manage to succeed in making a working printable plate, but there was still a long way to go before I could make the process fully work. In the couple of months leading up to Print Day in May, I set some time on one side to revisit this experiment and really push it to its limits.
The photo etching process involves rolling on a photo sensitive emulsion (in a darkroom) onto the surface of a clean metal plate. This is left to dry for an hour. A positive black and white image on acetate or a drawing with ink/chinagraph on tracing paper can then be exposed onto the plate using a UV light box. The areas covered up by the image stay soft, whilst the areas exposed to the UV harden. This is then developed in a tray with a solution of soda crystals and water in a dark room where the areas that are soft are washed away before the plate can then be etched. It is this process that I’ve used with lino instead of metal, etching its surface with caustic soda paste.
My printmaking practice is based around the process of lino etching. This process uses Caustic soda paste (a strong Alkali solution mixed with wallpaper paste) to etch the surface of a linoleum block (Hessian lino) to create a range of marks.
Caustic soda crystals (Sodium Hydroxide) are generally used as a heavy duty cleaner, especially great at clearing out pipes. Since it’s a strong alkali, it can eat away any organic matter clogging up the plumbing. Hessian lino blocks are made from wood flour and linseed oil making them completely organic. This makes them perfect for etching with a caustic soda paste. Vinegar is then used to neutralize the alkali solution after etching.
Caustic soda etches or ‘bites’ into the surface of the lino block to various depths, according to the length of time it remains in contact with the lino block. A wide range of tonal marks can be created, from white (negative) to grey (half tone). Due to the unique nature of this technique, lino etching can be used as both a relief and intaglio process.
For more information on my process checkout my process page .
During Print Day in May I explored how long the solution could etch the image before it dissolved the hardened emulsion. With the aim of improving the quality of the image and the depth of the etch, using photographs and drawings. My second aim of the day was to revisit old prints by scanning them onto a computer, enlarging and cropping areas with photo editing software and then re etching them onto lino blocks using the photo etching process.
The day was full of really exciting results with more to come!