Christiane Gossel tells about the photopolymer etch technique:
"The technique supports and strengthens the theme."

"I strive after a communication with technique and material. Exchanging theory and practice of the idea and the realisation of the idea, it’s a continuous process, but also a confrontation about how to handle the material and how to handle the technique and it’s conventional ways of treating it.

Photopolymer is a relatively young etching technique, the goal of it is being environment friendly (no usage of terpentines) but also being able to obtain different tints in Gray and fine lines.
It brings back memories about the photographic technique, however with extensive graphical possibilities.
It is possible to etch (pure-etch) and to not etch (non-etch), more info ton fin don on: www.polymetaal.nl.

At the moment I use the ‘pure-etch’, for the etched lines.
I’m not particularly clear about how the non-etch film differs from the pure-etch film, as I haven’t used it too often.

I started sailing on my former etch experience. The visible engraved line in the plate was my motivation, that doesn’t mean that I won’t be using the non-etch in the future. Advantage of the non-etch is that you won’t need a sour bath; disadvantage is you can’t print as many prints.
For me this isn’t such a problem, as I normally don’t print many, only for a commissioned order.

The subject gets placed on film and exposed on a copper plate that is covered with a light sensitive film (‘non-etch’ film, or ‘pure-etch’ film).

The subject can originate from computer print, photocopy drawing (on chalk paper) and brought to film.

After exposing the film gets developed and etched."

Got curious about my tips and findings in this technique? Click [here] to download .pdf.