Etching and Printmaking
On a smooth copper plate, I draw the scene with a sharp instrument after I put the soft wax that isolates the acid from the white etch that I want, and etches the black that I painted.
I add gray and black spaces with rosin at times, and fabric materials at other times.
To see the result of what I etch, I put a sticky ink on the plate, and start cleaning for it to go into the pores that I etched. The drawing begins to appear. I place the plate on the press machine, and a wet cotton paper on top of it. With very high pressure, the press machine rotates to convey all that was etched on the paper, and I see the result of all what was etched. It is like giving birth.
I get several copies of that plate, repeating the printing for a few copies.
My attention has always been drawn to the works of Spanish artist Francisco Goya. He recorded scenes from the war and the revolution in Spain in the early nineteenth century. His works depict injustice, and the transformation of man in those difficult days. His works
remain to this day some of the most powerful works of printmaking.
Goya chose printmaking because it was easier to circulate and reproduce, as it was the only technological means of printing at the time, in addition to the peculiarity of its techniques in this type of art.