This group included Stanley William Hayter, Kaiko Moti, Krishna Reddy, Clare Snider Smith[2][better source needed] and Shirley Wales.
Martin Barooshian arrived at Atelier 17 in 1956, working closely with Hayter, Moti, Reddy and in particular Wales, he further innovated color viscosity printmaking, pushing it to its limits to create more objective imagery, ultimately becoming one of its most important masters.
The polished surface is then wiped clean using newsprint and tarlatan, leaving ink only below plate level.
It is run through the press where great pressure (approximately 16,000 PSI or 1.103 kbar) pushes the dampened paper down into the engraved or etched grooves to pick up ink.
Among the greatest masters of engraving and etching are Albrecht Dürer, Hans Holbein the Younger, Rembrandt, Goya, and Picasso.
Ink of a third color, and a much stiffer consistency, is then applied to the lower areas of the plate with a softer rubber roller.