I think maybe the tiny chair which you would almost hardly even notice may have been inspired by David du Bose's gorgeous drypoint which is in the "Intaglio" book by Robert Adam and Carol Robertson... although it is a motif that I have always used in my artwork every now and again.
This Red proof shows the plate in the same state, as in the first one - I had some what over wiped it.
I decided that there wasn't enough variation of tone and for some reason decided to take an additive approach to the plate using Lascaux acrylic pastel ground for the dark area - unfortunately I applied it to the plate, in far too casual a manner and well you can see the consequence of this. Although I liked the dark background and the lighter foreground.
This application, i.e., to the plate that outputted the blue proof - meant that, in a way, I was using a collagraph application onto a plate that had been etched ................but what matters to me is the final result when printed onto the paper. Where I am concerned having some kind of 'purist' attitude to etching or to printmaking gets us nowhere. I mean, if the 'technology' exists then use it........ well that's what I say.
It still looked 'naff' so I concluded that it would be best to get rid of the layer of acrylic pastel ground. So I put the plate in some Lascaux remover for a while I think I had it in for about half an hour. It came off pretty easily.
Then I decided to put the plate back into the copper sulphate mordant. With plates of this size putting them into 'etch' in mordant, is so easy. I use those little black plastic rectangular trays that ready made pasta dishes come in. They are just big enough for these 4 x 6 inch plates. I painted Lascaux acrylic hard ground onto the plate which I had degreased using Jif cleaner (what you use to clean the sink and the bath) . Here's the plate with the acrylic resist ground applied.
I painted a layer of it, onto half of the area I wanted to get etched. I left it in the copper sulphate mordant about 5 minutes. Then I put it in some remover and when it was cleaned off I~ put it back into the mordant, for a further 5 mins. I ought to add that while I was applying the acrylic resist I also put a layer of that over the bottom half of the image and went over the lines delineating the figures. They looked a bit too light ..the lines...I wanted them to be a bit more pronounced. It looked a lot better.
Much better and I also liked that the lines of the figure were stronger.
It's funny how the colour you proof in, can make such a difference to the mood of the image isn't it?.
A few days later I did another quick proof with "a la poupee" and liked that too. When I finally do print this b.a.t, - I may add a little chine colle element, printed inkjet on Japanese paper .... we will see.