The copper plates that these prints were taken from have been both electro-etched and plated. The top of the plate for the first print was roughly plated with steel around the etched copper circle. By combining  etching and plating processes the plates are sculpted and are more like collagraphs than traditional etched plates. The initial focus of my research into electro-etching was based on it being safer than traditional acid etching and it undoubtably is but the real attraction is the wider range of the mark making potential of electro-etch.

It is well known that each metal responds colouring media in different ways but probably less well known that the each metal has its own signature response to electrolysis. The next phase of the research is to explore this through the making process.

Electro-etching has been around since 1840 when Spencer and Wilson were granted a patent for it. Gottfried Wilson Osann recommended the process to his fellow scientists to illustrate their own books claiming that it was so easy done on their own desks. Despite the ease of use, the lack of toxic fumes and that the process bites fine precise lines it has not so far been widely accepted within the printmaking community.