XII

Highlighting Techniques: Burnishing

Burnishing requires a special tool made from a hard metal (such as steel) that is used to smooth down areas on the matrix previously engraved or etched. The technique creates areas of highlighting that blend subtly with adjacent darker passages and enable a gradual transition between different aquatint tones. Goya used the technique to great effect to create highlights on the donkey depicted in Brabísimo! (Bravo!). (See figs. 28 and 29). Burnishing tools come in a variety of shapes, but the most useful one has a curved, smooth end shaped like a claw. The ‘claw’ can be turned upside down so the gentle curve is able to burnish quite large areas, or the tip can be used to precisely burnish discreet areas. In addition to producing compositional effects, it can also be used to remove unwanted lines should the artist want to change the composition.

Francisco GOYA y Lucientes<br/>
<em>Bravo!</em> (1797-1798) <!-- (recto) --><br />
<em>(&iacute;Brab&iacute;simo!)</em><br />
plate 38 from <i>Los Caprichos (The Caprices)</i> series (1797&ndash;98), published 1799<br />
etching, burnished aquatint and drypoint printed in sepia ink<br />
15.8 x 13.0 cm (image) 21.6 x 15.2 cm (plate) 24.0 x 17.6 cm (sheet)<br />
1st edition<br />
National Gallery of Victoria, Melbourne<br />
Felton Bequest, 1976<br />
P1.38-1976<br />

<!--25116-->
Fig. 28: Francisco GOYA, íBrabísimo!, (Bravo!), 1797-1798; published 1799, plate 38 from Los Caprichos (The Caprices) series.
Francisco GOYA <em>Banderillas de fuego, (Banderillas with firecrackers)</em> 1815; published 1816, plate 31 from <em>La Tauromaquia (The art of bullfighting)</em> series. Photomicrograph detail of engraved lines used to denote the smoke from the firecrackers.<br/>
Fig 29: Francisco GOYA, íBrabísimo!, (Bravo!), 1797-1798; published 1799, plate 38 from Los Caprichos (The Caprices) series. Burnishing through a passage of etching and aquatint on the donkey’s hind leg.