In addition to producing a range of monochromatic values, aquatint could also be used to create colored prints.
This could be achieved in two ways — the printmaker could carefully wipe a single plate with different colored inks, a technique known as à la poupée, or several different plates could be used for each color and aligned with registration pins.
Both methods produce delicate, wash-like results. Because of the subtle effects, such prints often existed in the sphere of the belle èpreuve, the limited edition fine art print.
The atmosphere of a misty Breton landscape or an urban street scene could be convincingly rendered using the technique.
Eugène Delâtre’s infused his Parisian cityscape Impasse Trainée, Montmartre with mood by adding diffuse shadows in aquatint.
Henri Dorra (red.), Symbolist Art Theories: A Critical Anthology, Berkeley 1994
Anthony Griffiths, Prints and Printmaking: An Introduction to the History and Technique), London 1996
Ad Stijnman, Engraving and Etching 1400-2000: A History of the Development of Manual Intaglio Printmaking Processes, Houten 2012