| Description |
1 online resource (309 pages) |
| Series |
Contemporary Practices in Alternative Process Photography Ser |
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Contemporary Practices in Alternative Process Photography Ser
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| Contents |
Cover; Half Title; Series Page; Title Page; Copyright Page; Contents; Preface; Chapter 1 Introduction; Beginnings; Attributes of the Process; A Brief Description of Traditional Ink-on-Paper Printing Methods; Relief Printing; Planographic Printing; Intaglio printing; The Problem of Continuous Tone; Polymer Plates and How They Work; Polymer Plate Relief Printing; Polymer Plate Intaglio Printing; Aquatint; The Polymer Aquatint; SECTION ONE: The Polymer Photogravure Studio: Overview of Studio Preparation; Chapter 2 The Physical Studio: Materials and Equipment; Safety; Be Smart about Chemicals |
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Minimize Skin Contact with Any ChemicalsMinimize Exposure to Vapors; Take Care of Your Eyes; Keep a Clean Workspace; The Etching Press; Overview; Etching Press Basics; The Parts of an Etching Press; Etching Press Features; Buying an Etching Press; Etching Press Accessories; The Photopolymer Plates; Types of Photopolymer Plates; Storage of Unused Plates; Studio Equipment; Plate Cutter; Trays and Brushes; Aquatint Screens; Marking and Measuring Tools; Plate Drying Options; Exposure Units; Ink Handling; Warming Plate; Plant Misting Sprayer; Drying Racks; Print Drying Equipment |
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Miscellaneous ItemsStudio Consumable Materials; Anti-Offset Powder; Overhead Transparency Film; Clear 1-Mil Mylar Plastic; Paper Terminology; European Papers; Asian Papers; Plastic Sheeting; Intaglio Ink; Paste; Newsprint; Cloth Rags; Cleanup Solvents; General Studio Requirements; Inking Table; List of Suppliers; Etching Presses; General Printmaking Supplies; Polymer Plates; Aquatint Screens; General Studio Equipment and Materials; Printing Papers; Chapter 3 Digital Studio: The Virtual Workspace; Computer and Monitors; Printers; Image-Editing Software; Scanners and Scanner Software |
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Calibration HardwareSetting Up the Digital Workspace; Basic Digital Editing Knowledge; Concluding Remarks; SECTION TWO: The Process of Polymer Photogravure; If You Are New to the Process; Overview of the Process; Chapter 4 Making a Photogravure Print; Paper and Press Preparation; Paper Preparation; Tearing Down the Paper to Size; Dampening the Paper; Press Preparation Overview; Inking, Wiping, and Printing; Preparing the Ink; Wiping the Ink onto the Plate; Wiping the Ink from the High Areas of the Plate; Cleaning the Edges and the Back of the Plate; Making the Print |
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Chapter 5 Making a Polymer Photogravure PlateExposing and Processing a Polymer Plate; Material and Equipment Needed; Making the Aquatint Screen Exposure; Making the Image Exposure; Etching the Plate in the Water; Drying the Plate with Heat; Post-Exposure Hardening; Trimming and Deburring the Plate; Exposure Calibration of Polymer Plates; Preliminaries; Estimating a Ballpark Screen Exposure; Determining a Screen Exposure Value Using the Screen Exposure Test Strip Image; Fine-tuning the Gradation; Some Final Thoughts on Calibration; Turning this Work?ow into a Photoshop Action |
| Summary |
Polymer Photogravure: A Step-by-Step Manual Highlighting Artists and Their Creative Practice is a three-part book on the non-toxic process of making ink-on-paper intaglio prints from continuous-tone photographs using water-etched photopolymer plates. Author Clay Harmon provides clear and easy to understand instructions that will enable anyone to successfully make a photogravure print. By quantifying the sensitometric behavior of polymer plates, Harmon has developed a methodical approach which will enable a new printmaker to produce plates in their own studio with a minimum of time and wasted materials. Section One provides a straightforward guide to setting up the polymer photogravure studio. Section Two covers a step-by-step method of making the print from start to finish. Section Three showcases contemporary artists' works, illustrating the variety and artistic breadth of contemporary polymer intaglio printmaking. The works in these pages range from monochrome to full color, and represent a variety of genres, including still lifes, portraits, nudes, landscapes, urban-scapes and more. Featuring over 30 artists and 200 full-color images, Polymer Photogravure is a most comprehensive overview of this printmaking process in print. Key topics covered include: Studio safety Equipment and supplies, evaluated from both a cost and utility point of view A brief discussion of the types of ink-based printing Aquatint screen considerations Image preparation and positive printing on inkjet printers Paper preparation A simple and efficient polymer plate calibration process that minimizes wasted time and materials A straightforward inking, wiping and printing method Advanced printing techniques such as chine collé, à la poupée, and printing on wood Troubleshooting guide to platemaking and printing problems Tips on editioning and portfolios A visual survey of the range of artistic expression practiced by contemporary artists Sources for supplies and recommended reading Polymer photogravure plates enable an artist to use an almost-infinite range of image color and papers to make a print. The finished prints are extremely archival, consisting of only ink and paper. With Harmon's instructions, continuous tone intaglio prints are within the reach of all |
| Notes |
Chapter 6 Photogravure: Additional Techniques |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Print version record |
| Subject |
Photogravure.
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Photogravures.
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photogravure (process)
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Advanced printing techniques.
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intaglio.
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Photogravure.
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Polymer photogravure.
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Polymer photogravure for photographers.
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Polymer plates.
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Printmaking.
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Photogravures.
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Photogravure.
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| Form |
Electronic book
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| ISBN |
9781351259033 |
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1351259032 |
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9781351259026 |
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1351259024 |
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1351259016 |
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9781351259040 |
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9781351259019 |
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1351259040 |
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