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I love your work! The best information on etching on RUclips that I have seen to date.

This is a good way to use cheap glass safely. Or you could consider getting a sheet of shatter-proof glass (for shower units) cut to measure and the edges ground. It costs a bit but is very nice to work with, knowing that it is almost impossible to break and the edges are completely smooth. It doesn't need any framing and you can paint one side white with greenhouse paint (easy to remove) or just lay it on a sheet of white paper to use it as a palette. It makes a sturdy base to ink a brayer on. Enjoyed the video - thanks.

Thanks for this useful video! Is there any plant-based alternative for the casein powder?

In the last part of your video where you have samples, you say "I sized the piece with rabbit skin glue". To sum it up: prep the board, size the board (either casein or RSG), make you drawing, add color with watercolor if you choose to, then? Here is where my confusion lies... size again? I think you said with Rabbit Skin Glue? I'm confused about this section. Can you print without sizing after the water color? And/or can you use casein again? I assume you wait for the water color to dry for a bit? I'm just getting ready to print my samples board, I'm very excited... Thank you for all the work you have put into this process and explanations/samples. I'm very thankful!

John, these are all wonderful methods. Thank You! On # 7 plate to plate technique a question? your key plate has been etched? yes? but has it also had some stopout put on it? i didn't understand the blank spaces. thank you

Thank you very much for this demo. I will try this out and ask my printer friend to help me pull a good print through his press.

Was very good to see the difference properly between glazing and scumbling - an issue that's been confusing to me for a while. Thank you - love the cave style painting and colours :)

Just found your channel! I love your work, the environment you create in your videos, and I aspire for a studio like yours one day. I will be finding ways to incorporate these techniques in my work as well as with my students. Growing up, art instructors with similar teaching styles like how you execute your videos are what inspired me to teach. Thank you for sharing!🙏❤️🤘

I especially enjoyed the method of adding color. Very helpful. Thank you

Thank you very much for the video Mr. John, what a great idea to use Plexiglass for a Base! Never thought of that, just one Copper, Zinc or Wood. I love the 'installation' for steadying the plate, the Sharpie tip, but most of all, the way of colouring the prints! Will certainly try out your Method!

Thanks. This is really really useful I am just beginning to learn all ab out tching and hopefully aquatint. Best wishes. :-)

Great image

The main advantage to me is that when you do the painting first on the plexiglass and you decide you want to make changes to it you can just wipe that part off and redo it. Making changes to a large painting on paper is a much more difficult process. Only when it has been completed to your liking do you pull the print.

Your videos are amazing. Thank you for your generosity. So exciting to find new approaches especially ones that can be easily shared with others.

Maestro, I like your videos. But can you please narrate without the filler "uh" and "um". You say it after almost every sentence. Very annoying. Maybe preparing a written script beforehand would help. Good luck.

Thank you maestro.

2,753... that's the number of times our lovely maestro says, "Aaa"

I was just recently gifted an etching press, with little to no idea how to print with it. Being I’m an acrylic/mix media and watercolor artist, this video by far has given me ideas on how to experiment with it without having to go out and buy all new inks and other items, I can use what I have readily available. Thanks so much ❤

🤏🤏🤏

These prints are wonderful John. I love your drawings in them as well as the application of tones. Thanks for making these videos.

Hi John, great video, I look forward to watching the rest of this series after this comment. I was just wondering whether the etchings shown during your transitory slides were your own. If not, whose are they? They're gorgeous.

This is helpful! Thank you

Thank you for this excellent series. Polyester plate lithography is so new that good resource material is hard to find. I have been experimenting with this technique and learned some useful things with this series. I would like to discuss citric acid in the fountain solution. My resources ask for a ration of 1 quart:1T gum arabic: 1T citric acid. At that ratio it works brilliantly, better than just gum arabic.

I have 3 questions: What kind of paper do you use with oil based media ? Do you wet the paper, like with water soluble media? Do you use gesso as a ground on the paper?

Don't know if anyone will see this comment, but if I have a desk with a class surface, could i just use the surface of the desk as my pallet?

M. Graham gouache works great.

Thank you so much for this tutorial! One of the most helpful video that i have seen!

Hi, great informative video, what weight of paper would you recommend? I don't know the one you have mentioned, not sure if it available in the Uk.

When you black in the drawing with sharpie can you still see what’s underneath?

Your work is crazy great

Can also use thick aluminium foil as the plate and coke to eat into the China marker. No heat needed

Would be nice to see a print bring created start to finish . I’m a bit confused

Thanks for the info- so helpful! It's a lovely image.

I feel like that drawing on paper simply doesn't "feel" as archival ad drawing on wood. However I work in graphite and I'm wondering about drawing on wood panels that have been gessoed to make a white surface, and drawing on that with graphite pencils. But I can't find much on this subject online. Have you tried it? I want to draw serious photorealism styles of art using graphite and I want to be reasonably sure my drawings might last hundreds of years unchanged. So h e l p?

Could you use a pin press like the skua?

John, I’m so grateful for your videos. However, the underpainting in burnt umber ( or other colour) is not pointLess. It is used to determine values! If your values are correct, the colour can be anything and the painting still “works”. One of my fave colours to use as an underpainting for portraits is purple. Burnt umber is typically used to make it easier to see the whitest white and the darkest dark..

Thank you! I really appreciate your pace. You are a real teacher. Kind regards from Germany.

Please give us a link to your Facebook page.

AWESOME TUTORIAL!! THANK YOU FOR THIS EXCELLENT CONTENT!!

These are monotypes, not monoprints. It becomes a monoprint in recoloring the ghost print.

Thank you. Are you running the paper through dry, or are you soaking it first? Great vid. I have access to a press and want to try this!

Thank you for showing the “fails” and successes in the water soluble materials you used. Saves a lot of time and guessing for us!

Thanks so much for these videos. Very informative and very well explained.

Thank you very interesting.

This is etching! Engraving is when you roll ink on the surface and print that.

Hello John, Thank you for your great effort to explain all the different materials. I also wonder why just one person responded. You deserve more attention. --- May I ask you a question? Have you ever tried "Lithographic Paste Tusche High Grade by Charbonnel" on Pronto Plates? Thank you.

I am very thankful for the great dictionary of experament you give for free! So kind of you

Thank you for sharing this very helpful info!!

Beautiful work and wonderful videos!!

I’ve watched a few videos demonstrating the use of lithographic plastic plates. This one wins. It didn’t hurt my brain to listen to you explain the process! Clear and concise. And nice clean prints for the most part.