Etching

  • Huguenot Editions

    Huguenot Editions

    Huguenot Editions works with artists, publishers and museums from around the world to create fine art prints. We specialize in all intaglio and relief printmaking techniques, and have the facilities and experience to offer a diverse range of processes including:

    Etching (hard and soft ground), Photo Etching, Photopolymer Gravure, Aquatints, Sugarlift and Carborundum along with printing from wood and linoleum.

     

    Large format printing can be accommodated; our largest press is 3 x 1.5 m.

    Services include a steel-facing facility for plates; this allows a longer edition to be produced from copper plates and is highly recommended when printing with colour on copper.

  • ETCHING GUIDE


    Etching is a printmaking technique that involves using acid or other chemicals to carve an image or design onto a metal plate, typically made of copper, zinc, or steel. The process starts by coating the plate with a waxy, acid-resistant substance called a "ground." The artist then scratches or draws a design through this ground, exposing the metal beneath. Once the drawing is complete, the plate is submerged in an acid bath, which "bites" into the exposed metal areas, creating lines that will hold ink. After cleaning off the ground, the plate is inked and wiped, leaving ink only in the etched grooves. Finally, the plate is pressed onto paper to produce a print of the image. This method allows for highly detailed and expressive lines, making it a favorite among printmakers for centuries.

    MULTI-PROCESS PRINTMAKING


    • MULTI-PROCESS PRINTMAKING

      MULTI-PROCESS PRINTMAKING

      Multi-Process Printmaking combines traditional and contemporary printmaking techniques to create unique artworks tailored to your vision. Our approach allows us to layer multiple processes such as silkscreen, lithography, etching, digital printing, and hand-finishing techniques like gold leafing - all within a single piece. This versatile methodology means we're not confined to the limitations of any single print process; instead, we can strategically combine techniques to achieve specific aesthetic goals.

       

    FINISHES


    • Etching | Hard & Soft Ground

      Etching | Hard & Soft Ground

      Marks are made by drawing through a wax resist on a plate, then etched with acid. In hard ground etching, artists scratch through a smoked hard wax layer to reveal marks. Soft ground etching involves drawing on paper over the plate, where pencil pressure removes soft wax, allowing acid to etch the design. The plate is then inked and printed using a press.

    • Photo Etching

      Photo Etching

      Photo etching, or photoengraving, combines photography with etching by transferring a photographic image onto a metal plate coated with light-sensitive emulsion. When exposed to light, the emulsion hardens, creating a resist, while acid etches the unprotected areas, embedding the image with depth. This technique produces fine, nuanced prints that blend photographic detail with the tactile quality of traditional etching.

    • Photo Gravure

      Photo Gravure

      Photogravure is an intaglio technique blending photography and etching for high-quality, detailed prints. A photographic image is transferred onto light-sensitive gelatin, then onto a metal plate, usually copper. Chemical etching creates varied depths for fine ink gradations. This technique captures a rich tonal range, from deep shadows to subtle highlights, ideal for textured, detailed photographic reproductions.

       
    • DRYPOINT

      DRYPOINT

      Drypoint is an intaglio technique where an artist scratches lines into a metal or acrylic plate using a sharp tool, without acid. The grooves and burrs created hold ink, giving drypoint prints their characteristic soft, velvety lines with rich, slightly blurred edges. This technique is prized for its expressive, textured lines, perfect for creating intimate, moody images with a handcrafted touch.
    • AQUATINT

      AQUATINT

      Aquatint is an intaglio technique for creating watercolor-like tonal effects. A metal plate is coated with powdered resin and heated to adhere, then submerged in acid, which etches around the resin particles. This texture holds ink, producing tonal variations. By adjusting acid exposure or using stop-out varnishes, artists achieve gradations from light gray to deep black, making aquatint ideal for soft shading and adding depth to prints.

    • SUGARLIFT

      SUGARLIFT

      Sugarlift etching is a technique that allows for expressive, painterly lines and textures. A sugar solution is painted onto a metal plate, and once dry, an aquatint ground is applied. The plate is then soaked, dissolving the sugar to reveal the image. When exposed to acid, the lifted areas are etched, creating rich, textured marks that bring a hand-drawn quality to the final print.
    • A LA POUPEE

      A LA POUPEE

      À la poupée is a printmaking technique for applying multiple colors to an intaglio plate in one press pass. Named after the small cloth "dolls" used to dab ink, this method enables artists to color different areas of the plate directly, avoiding separate plates for each color. By blending inks on the plate, à la poupée creates vibrant, painterly effects with a unique, hand-colored quality in each print.

    • BLIND EMBOSSING

      BLIND EMBOSSING

      Blind embossing is a technique that creates a raised, ink-free design on paper. An artist presses a prepared plate or stencil into damp paper, producing a subtle relief that’s visible through light and shadow. Known for its understated elegance, blind embossing adds texture and depth to prints, book covers, and stationery, enhancing their tactile and minimalist appeal.
    • CARBORUNDUM

      CARBORUNDUM

      Carborundum printmaking uses silicon carbide powder mixed with a binder to create textured areas on a printing plate. These areas hold extra ink, resulting in rich, velvety textures and bold, expressive marks. Known for deep tonal variations and heavy ink application, carborundum prints resemble paintings, featuring intense colors, tactile surfaces, and dynamic imagery.

       
    • CHINE COLLE

      CHINE COLLE

      Chine-collé is a printmaking technique that combines collage with traditional printing to add color, texture, or detail. A thin, delicate paper, often rice or Japanese paper, is placed on an inked plate and adhered to heavier paper during printing. This process creates layered effects and intricate details, adding depth and dimension to the final artwork.
    • RELIEF PRINTS

      RELIEF PRINTS

      Relief printing is a technique where an artist carves into a block, like wood or linoleum, leaving raised surfaces to hold ink. The inked block is then pressed onto paper, creating bold lines and strong contrasts. Known for its graphic quality, relief printing is used in both art and commercial applications, including woodcut, linocut, and letterpress methods.

    • HYBRID PRINTING

      HYBRID PRINTING

      Hybrid printing combines multiple printmaking techniques, like relief, intaglio, lithography, and digital, in a single artwork. This approach enables artists to achieve unique textures, colors, and effects by layering or blending methods, creating rich compositions that extend beyond traditional printmaking. Hybrid printing is valued for its flexibility and creative potential.

    • SPITBITE

      SPITBITE

      Spit bite aquatint is an aquatint technique where the artist applies thickened acid directly to the plate with a brush, instead of submerging it. After applying an aquatint ground, the acid, traditionally mixed with spit, is painted onto the plate. This approach allows for controlled tones and creates a watercolor-like effect in the final print.

    • WOODCUT

      WOODCUT

      Woodcut is an ancient printmaking technique where an artist carves an image into a wood block, leaving uncarved areas to hold ink. When pressed onto paper, these inked surfaces produce bold, graphic prints with strong contrasts. Woodcut has long been used for both fine art and book illustration.

    • LINOCUT

      LINOCUT

      Linocut is a relief printmaking technique like woodcut, but it uses a linoleum block, which is softer and easier to carve. The artist cuts away areas that will remain white, leaving raised surfaces to be inked. This technique allows for finer details and clean lines, making it ideal for bold, high-contrast images and expressive designs.

    • STEEL-FACING

      STEEL-FACING

      Steel-facing is an intaglio technique that strengthens a copper plate by electroplating it with a thin steel layer, enhancing durability for repeated printing. This preserves fine details and textures, ensuring high-quality, consistent prints across an edition. After printing, the steel layer can be removed, returning to the original copper plate.

    • MEZZOTINT

      MEZZOTINT

      Mezzotint is an intaglio technique that produces deep blacks and smooth tonal gradients. The artist roughens the plate’s surface with a rocker for solid blacks, then smooths areas with burnishers and scrapers for lighter tones. This creates a tonal range from dark blacks to bright highlights, valued for its dramatic contrasts, soft shadows, and painterly details.

    • MULTI-PLATE

      MULTI-PLATE

      Multi-plate printing uses several plates, each with a different color, to create a layered image. Each plate represents part of the design, like outlines or shading, and is printed in sequence on the same paper. Precise alignment ensures colors blend cohesively, making this technique ideal for vibrant, multi-colored compositions with depth.

    PRINT SIZE


    ETCHING | PRINT & PAPER SIZES

    • Victorian Etching Press - 40cm X 82cm
    • Rochat Etching Press - 66cm X 112cm
    • Rochat Etching Press - 66cm X 147cm
    • Modbury Etching and relief press - 66cm X 147cm
    • Multiple Paper Types Available

    Size Image

    PAPER OPTIONS


    • SATIN PAPERS

      SATIN PAPERS

      Fine art satin paper offers a smooth, slightly textured surface with a soft sheen, combining the elegance of matte finishes with a subtle touch of gloss. It enhances colour vibrancy while maintaining deep blacks and fine detail, making it ideal for high-quality art prints and photography. The satin finish minimises glare and fingerprints, providing a refined, professional appearance suitable for framing and display.

    • VELVET PAPERS

      VELVET PAPERS

      Velvet paper has a luxurious, soft texture with a rich, matte finish that gives artwork and photographs a sophisticated, tactile feel. Its textured surface enhances depth and detail, offering a slightly muted and painterly effect, making it perfect for fine art reproductions and high-end prints. The non-reflective quality ensures minimal glare, ideal for displaying in various lighting conditions, while its absorbent nature provides excellent color retention and subtle tonal variations.

    • Textured Papers

      Textured Papers

      Textured paper has a distinctive surface that adds a tactile dimension to prints, enhancing the visual depth and character of artwork and photographs. Its rich, organic feel creates an authentic, hand-crafted look, making it ideal for fine art reproductions and illustrations. The textured finish diffuses light, reducing glare and giving images a soft, natural appearance, while its high absorbency ensures vibrant colours and intricate details are preserved.

    • SPECIALIST SUBSTRATES

      SPECIALIST SUBSTRATES

      Special substrates like canvas, fabrics, and holographic, gold, or silver mirror finishes offer diverse, eye-catching effects. Canvas provides a textured, traditional look, while fabrics add a soft, tactile quality. Holographic substrates create prismatic colour shifts, and gold or silver mirror options give a sleek, metallic sheen. Ideal for distinctive, high-impact visuals and multi-dimensional pieces.

    PACKAGING & SHIPPING


    • PACKAGING & SHIPPING, bespoke art packaging

      PACKAGING & SHIPPING

      bespoke art packaging

      We offer bespoke art packaging, from durable plywood crates to custom card portfolios, suitable for all sizes and budgets. Our solutions ensure safe transit with foam-lined crates and cost-effective multi-work crates. If needed, our ShipArt™ vehicles use reusable sleeves for added protection during collection.

       

    ETCHING GUIDE


    Etching is a printmaking technique that involves using acid or other chemicals to carve an image or design onto a metal plate, typically made of copper, zinc, or steel. The process starts by coating the plate with a waxy, acid-resistant substance called a "ground." The artist then scratches or draws a design through this ground, exposing the metal beneath. Once the drawing is complete, the plate is submerged in an acid bath, which "bites" into the exposed metal areas, creating lines that will hold ink. After cleaning off the ground, the plate is inked and wiped, leaving ink only in the etched grooves. Finally, the plate is pressed onto paper to produce a print of the image. This method allows for highly detailed and expressive lines, making it a favorite among printmakers for centuries.


    • MULTI-PROCESS PRINTMAKING

      MULTI-PROCESS PRINTMAKING

      Multi-Process Printmaking combines traditional and contemporary printmaking techniques to create unique artworks tailored to your vision. Our approach allows us to layer multiple processes such as silkscreen, lithography, etching, digital printing, and hand-finishing techniques like gold leafing - all within a single piece. This versatile methodology means we're not confined to the limitations of any single print process; instead, we can strategically combine techniques to achieve specific aesthetic goals.

       

    • Etching | Hard & Soft Ground

      Etching | Hard & Soft Ground

      Marks are made by drawing through a wax resist on a plate, then etched with acid. In hard ground etching, artists scratch through a smoked hard wax layer to reveal marks. Soft ground etching involves drawing on paper over the plate, where pencil pressure removes soft wax, allowing acid to etch the design. The plate is then inked and printed using a press.

    • Photo Etching

      Photo Etching

      Photo etching, or photoengraving, combines photography with etching by transferring a photographic image onto a metal plate coated with light-sensitive emulsion. When exposed to light, the emulsion hardens, creating a resist, while acid etches the unprotected areas, embedding the image with depth. This technique produces fine, nuanced prints that blend photographic detail with the tactile quality of traditional etching.

    • Photo Gravure

      Photo Gravure

      Photogravure is an intaglio technique blending photography and etching for high-quality, detailed prints. A photographic image is transferred onto light-sensitive gelatin, then onto a metal plate, usually copper. Chemical etching creates varied depths for fine ink gradations. This technique captures a rich tonal range, from deep shadows to subtle highlights, ideal for textured, detailed photographic reproductions.

       
    • DRYPOINT

      DRYPOINT

      Drypoint is an intaglio technique where an artist scratches lines into a metal or acrylic plate using a sharp tool, without acid. The grooves and burrs created hold ink, giving drypoint prints their characteristic soft, velvety lines with rich, slightly blurred edges. This technique is prized for its expressive, textured lines, perfect for creating intimate, moody images with a handcrafted touch.
    • AQUATINT

      AQUATINT

      Aquatint is an intaglio technique for creating watercolor-like tonal effects. A metal plate is coated with powdered resin and heated to adhere, then submerged in acid, which etches around the resin particles. This texture holds ink, producing tonal variations. By adjusting acid exposure or using stop-out varnishes, artists achieve gradations from light gray to deep black, making aquatint ideal for soft shading and adding depth to prints.

    • SUGARLIFT

      SUGARLIFT

      Sugarlift etching is a technique that allows for expressive, painterly lines and textures. A sugar solution is painted onto a metal plate, and once dry, an aquatint ground is applied. The plate is then soaked, dissolving the sugar to reveal the image. When exposed to acid, the lifted areas are etched, creating rich, textured marks that bring a hand-drawn quality to the final print.
    • A LA POUPEE

      A LA POUPEE

      À la poupée is a printmaking technique for applying multiple colors to an intaglio plate in one press pass. Named after the small cloth "dolls" used to dab ink, this method enables artists to color different areas of the plate directly, avoiding separate plates for each color. By blending inks on the plate, à la poupée creates vibrant, painterly effects with a unique, hand-colored quality in each print.

    • BLIND EMBOSSING

      BLIND EMBOSSING

      Blind embossing is a technique that creates a raised, ink-free design on paper. An artist presses a prepared plate or stencil into damp paper, producing a subtle relief that’s visible through light and shadow. Known for its understated elegance, blind embossing adds texture and depth to prints, book covers, and stationery, enhancing their tactile and minimalist appeal.
    • CARBORUNDUM

      CARBORUNDUM

      Carborundum printmaking uses silicon carbide powder mixed with a binder to create textured areas on a printing plate. These areas hold extra ink, resulting in rich, velvety textures and bold, expressive marks. Known for deep tonal variations and heavy ink application, carborundum prints resemble paintings, featuring intense colors, tactile surfaces, and dynamic imagery.

       
    • CHINE COLLE

      CHINE COLLE

      Chine-collé is a printmaking technique that combines collage with traditional printing to add color, texture, or detail. A thin, delicate paper, often rice or Japanese paper, is placed on an inked plate and adhered to heavier paper during printing. This process creates layered effects and intricate details, adding depth and dimension to the final artwork.
    • RELIEF PRINTS

      RELIEF PRINTS

      Relief printing is a technique where an artist carves into a block, like wood or linoleum, leaving raised surfaces to hold ink. The inked block is then pressed onto paper, creating bold lines and strong contrasts. Known for its graphic quality, relief printing is used in both art and commercial applications, including woodcut, linocut, and letterpress methods.

    • HYBRID PRINTING

      HYBRID PRINTING

      Hybrid printing combines multiple printmaking techniques, like relief, intaglio, lithography, and digital, in a single artwork. This approach enables artists to achieve unique textures, colors, and effects by layering or blending methods, creating rich compositions that extend beyond traditional printmaking. Hybrid printing is valued for its flexibility and creative potential.

    • SPITBITE

      SPITBITE

      Spit bite aquatint is an aquatint technique where the artist applies thickened acid directly to the plate with a brush, instead of submerging it. After applying an aquatint ground, the acid, traditionally mixed with spit, is painted onto the plate. This approach allows for controlled tones and creates a watercolor-like effect in the final print.

    • WOODCUT

      WOODCUT

      Woodcut is an ancient printmaking technique where an artist carves an image into a wood block, leaving uncarved areas to hold ink. When pressed onto paper, these inked surfaces produce bold, graphic prints with strong contrasts. Woodcut has long been used for both fine art and book illustration.

    • LINOCUT

      LINOCUT

      Linocut is a relief printmaking technique like woodcut, but it uses a linoleum block, which is softer and easier to carve. The artist cuts away areas that will remain white, leaving raised surfaces to be inked. This technique allows for finer details and clean lines, making it ideal for bold, high-contrast images and expressive designs.

    • STEEL-FACING

      STEEL-FACING

      Steel-facing is an intaglio technique that strengthens a copper plate by electroplating it with a thin steel layer, enhancing durability for repeated printing. This preserves fine details and textures, ensuring high-quality, consistent prints across an edition. After printing, the steel layer can be removed, returning to the original copper plate.

    • MEZZOTINT

      MEZZOTINT

      Mezzotint is an intaglio technique that produces deep blacks and smooth tonal gradients. The artist roughens the plate’s surface with a rocker for solid blacks, then smooths areas with burnishers and scrapers for lighter tones. This creates a tonal range from dark blacks to bright highlights, valued for its dramatic contrasts, soft shadows, and painterly details.

    • MULTI-PLATE

      MULTI-PLATE

      Multi-plate printing uses several plates, each with a different color, to create a layered image. Each plate represents part of the design, like outlines or shading, and is printed in sequence on the same paper. Precise alignment ensures colors blend cohesively, making this technique ideal for vibrant, multi-colored compositions with depth.


    PRINT SIZE


    ETCHING | PRINT & PAPER SIZES

    • Victorian Etching Press - 40cm X 82cm
    • Rochat Etching Press - 66cm X 112cm
    • Rochat Etching Press - 66cm X 147cm
    • Modbury Etching and relief press - 66cm X 147cm
    • Multiple Paper Types Available

    Size Image

    • SATIN PAPERS

      SATIN PAPERS

      Fine art satin paper offers a smooth, slightly textured surface with a soft sheen, combining the elegance of matte finishes with a subtle touch of gloss. It enhances colour vibrancy while maintaining deep blacks and fine detail, making it ideal for high-quality art prints and photography. The satin finish minimises glare and fingerprints, providing a refined, professional appearance suitable for framing and display.

    • VELVET PAPERS

      VELVET PAPERS

      Velvet paper has a luxurious, soft texture with a rich, matte finish that gives artwork and photographs a sophisticated, tactile feel. Its textured surface enhances depth and detail, offering a slightly muted and painterly effect, making it perfect for fine art reproductions and high-end prints. The non-reflective quality ensures minimal glare, ideal for displaying in various lighting conditions, while its absorbent nature provides excellent color retention and subtle tonal variations.

    • Textured Papers

      Textured Papers

      Textured paper has a distinctive surface that adds a tactile dimension to prints, enhancing the visual depth and character of artwork and photographs. Its rich, organic feel creates an authentic, hand-crafted look, making it ideal for fine art reproductions and illustrations. The textured finish diffuses light, reducing glare and giving images a soft, natural appearance, while its high absorbency ensures vibrant colours and intricate details are preserved.

    • SPECIALIST SUBSTRATES

      SPECIALIST SUBSTRATES

      Special substrates like canvas, fabrics, and holographic, gold, or silver mirror finishes offer diverse, eye-catching effects. Canvas provides a textured, traditional look, while fabrics add a soft, tactile quality. Holographic substrates create prismatic colour shifts, and gold or silver mirror options give a sleek, metallic sheen. Ideal for distinctive, high-impact visuals and multi-dimensional pieces.


    • PACKAGING & SHIPPING, bespoke art packaging

      PACKAGING & SHIPPING

      bespoke art packaging

      We offer bespoke art packaging, from durable plywood crates to custom card portfolios, suitable for all sizes and budgets. Our solutions ensure safe transit with foam-lined crates and cost-effective multi-work crates. If needed, our ShipArt™ vehicles use reusable sleeves for added protection during collection.