Welcome to Printmaking 101 with Smidgeon Press! This demo will walk you through how to make plate carriers using a few readily available materials. Safety tips are bolded because they’re important!
You have prepared and grounded your etching plate. You worked hard to get it ready, so how do you take it home or out into the field to draw without damaging the plate or the waxy ground? You could just wrap it in newsprint or drawing paper and toss it in a bag, but if anything rubs too hard against or pokes the paper, you may wind up with unintended texture on your plate known as foul-biting. Some printmakers prefer the rough randomness of this approach, but not me – I spent time getting that plate to a pretty polish, and I want to maintain control over my final image.
When I took advanced etching and lithography at PNCA, Yoshihiro Kitai showed us a simple way to keep our plates in great shape while carrying them around. Over the years, I’ve modified somewhat what he initially showed me. For every plate, I make a carrying case specifically cut to fit it, and I label each case with the working title of whatever it holds. This is helpful when I’m shuffling through carriers looking for a specific plate to work on (I’ve accumulated plenty of these by now, all in process or waiting to be editioned).
Supplies for this demo:
- copper plate
- 3 pieces of scrap mat board, larger than your plate
- 3/4″ artist tape
- cutting surface (I suggest investing in a proper cutting board)
- utility or X-Acto knife – be careful when using
- optional: burnisher or bone folder
- Measure your plate. You will want your mat board piecesto be larger. For small plates (6″ x 9″ or less), you can get away with ~1″ all around (so 8″ x 11″minimum for a 6″ x 9″ plate). For larger plates, I suggest at least 2″.
- Choose a mat to be your center piece and set the other two aside for now. Place your plate in the middle and trace around it with a pencil. Because plates aren’t always perfect, I will usually note “top” and “bottom”. Set your plate aside.
- Using the X-Acto knife and ruler, cut out the shape of the plate. Make sure you cut on a surface that is safe to cut into, and mind where your fingers are. I err on cutting to the outside of my pencil line. Cutting inside it can result in a hole that istoo snug. Pop out the center piece and set it aside.
- Grab one of the other pieces of mat. Line it up with the one you just cut to see how they will fit together. Trim edges to line up snugly if needed. Make sure you can still see your “top” and “bottom” marks.
- Cut a piece of artist tape is roughly 1/2″ longer than any one side of your mat’s outer edge. Lay it down on that edge, so that its lengthis centered to the mat, and a little more than half of its width hangs off the bottom. Carefully and snugly wrap the tape around the two mats, pressing all three sides carefully with your fingers (or burnisher, or bone folder). Repeat for all sides.
- Now you need to seal the inside of the frame too. Otherwise, your plate can slip between the two pieces of mat, which can cause unwanted scratching and gouging. Cut lengths of tape that are narrower than the inside lip of your frame mat, then apply them to each inside edge. I try to avoid letting the tape overlap.
- Now to attach the cover mat! Line up your cover mat with the backed frame you’ve just made. Wrap a piece of tape around the top edge, just like you did to seal the outside edges of the frame mats. Now it’s a functional carrier.
- Optional: Lay the carrier open, and apply a piece of tape over the hinge, to cover the sticky side of the tape that shows between the two mats. I like to do this for mats I know I’ll be opening and closing a lot.
- Optional but strongly recommended: Wrap pieces of tape around the three edges, right in the middle. The carrier can come open very easily if stored vertically (as in tossing it into a backpack). I will stick pieces of tape to the front side, to give the tape “straps” somewhere to stick that is still easy to peel open again.
Now you are ready to take your plate with you wherever you go–perhaps for some plein air drawing directly on your plate? If you’re new to etching, I highly recommend giving some plein air etching a try. It can be intimidating, but it seems to really encourage students to broaden their mark-making and think differently about composition. Heather McLaughlin and I took our CE etching students on a field trip to the Lan Su Chinese Garden for exactly that purpose. It’s one of my favorite places in Portland. It feels magically isolated from the city around it, and the tea house is a real treat. Enjoy!