Forward / Friedhard Kiekeben
Fear of Change
Resistance to a Healthier Way
Evolution
Photopolymer Film
ImagOn ULTRA
The Non-Toxic Journey
New Printmaking Terminology
Contemporary Printmaking Survey
A Contemporary Printmaking Renaissance
Safer Intaglio Studio Setup
Disposal of Toxic Materials
Etching Press
Designing Work Stations
ImagOn Laminating Area
ImagOn Processing
Area
Plate Finishing Area
Soda Ash Measuring Station
Plate Drying Station
ImagOn Plate Reclaiming Station
Ferric Chloride & Edinburgh Etch Etching Station
ImagOn Exposure Area
Acrylic Aquatint Spray Booth
Hard & Soft-Ground Area
Acrylic Aquatint Spray Booth
Hard & Soft-Ground Area
Paper Soaking & Preparation
Hot-Plate Area
Inking Stations
Large Plate Wash-Out Area
Print Drying & Paper Flattening
Layout Table
Intaglio Type Exposure Systems
The Least Expensive Exposure System
The Vacuum Frame
Timing the Light Exposure
What is a Light Integrator?
The Photocell
Calibrating the Photocell
Connecting the Photocell to the Integrator
Upgrading to a Better Lamp
Olec DEC 22 x 28 Exposure Unit
Setting up the DEC 22 x 28
Operating the DEC 22 x 28
Making Step Tests with the DEC
Portable Exposure Unit
Exposure Guide: Aquatint Screen
Flash
Mylar
Gouache
Toner
Oiled Photocopies
Digital Halftone
Intaglio-Type Introduction
Intaglio-Type Terminology
Other Photopolymer Films
ImagOn ULTRA
The Importance of Testing
How to Proceed
Intaglio-Type Plates
Plate Making Materials
Small Plate Preparation & ImagOn Lamination
Copper
Plastic Plates
Zinc
Aluminum
Steel Plates
Starting Equipment
Testing the Working Time
In Your Studio
For ImagOn ULTRA
Safe Handling
Method for removing Inside Peel-Back Layer
Small Plate Lamination
Large Plate Preparation & ImagOn Lamination
Submersion Lamination for Large Plates or for more than Two Layers of ImagOn
Troubleshooting
ImagOn Developer Testing the Developer
Materials for Mixing Developer
The ImagOn Developer
Mixing ImagOn Developer: Testing the ImagOn Developer
WHY is this test so Important?
Testing Materials Testing Procedure
The test is now ready to commence
Reading the Test Plate
Test Shows Soda Ash is Too Weak
Test Shows Soft-Water
This is a One Time Test
Etched Intaglio-Type Test Plate
ImagOn Plate Development
ImagOn Plate Development
Development Materials
ImagOn ULTRA Standard Development Final Edge Preparation (optional) Trouble Shooting
Guide to Problem Free Plate-Making
Aquatint Screen & Image Exposure Test
Why the Aquatint Screen?
Different Exposure Units
Aquatint Screen Exposure Test
Two Tests in One
Aquatint Screen Step Test & Image Exposure Test
The Flash Exposure
Flash Exposure Set-up
Flash Test Exposure Step-by-Step
Troubleshooting
Duo-Tone Intaglio-Type
Damaged Aquatint Screens
Intaglio Paper & Preparation
Preparing Intaglio Paper
Hahnemuhle Paper Dampening
Cutting or Ripping Paper
Final Print Preparation
Removing Unwanted Marks
Signing Off a Print
Intaglio Printing
Materials for Inking
Before Proceeding
Intaglio Printing Final Plate Edge Wipe
The Plate is Now Ready to Print
Cleaning the Plate
Keeping the Ink off Your Fingers
Troubleshooting
Akua Intaglio Ink Troubleshooting Guide Directly from the Manufacturer
How to Mix Akua Intaglio
Mixing Loose colors
Mixing Stiff colors
Ink Consistency
To Stiffen Ink
To Loosen Ink
After Mixing
Wiping the plate
Paper
Re-Soaking Prints
Drying Time
Cleaning Up
Toner-Wash: Mix & Test
Toner-Wash Materials
Drawing and Wash Media
Toner-Wash Step-by-Step
Tonerwash Formula
Recycling Used Photocopy Toner
Troubleshooting
Wash-Drawing Intaglio-Type
Wash-Drawing Intaglio-Type
Other Wash-Drawing Media
Multi-Plate Wash-Drawing Intaglio-Type
Multi-Plate Wash-Drawing Intaglio-Type Step-by-Step
Pastel Intaglio-Type
Pastel Intaglio-Type Step-by-Step
Spit-Bite Intaglio-Type
Quick Look
Spit-Bite Intaglio-Type Step-by-Step
Re-work the plate with Construction Intaglio-Type
Troubleshooting
Maximum Working Time for Soda Ash Developing Solutions
Mezzo Intaglio-Type
Troubleshooting
Stencil Intaglio-Type
Stencil Intaglio-Type Step-by-Step
Mix three batches of different strength soda ash developer
Troubleshooting
Line/Aquatint Intaglio-Type
Materials Line Intaglio-Type Step-by-Step
Line-Etch Intaglio-Type
Combining Line Intaglio-Type with Aquatint Intaglio-Type
Line & Aquatint Intaglio-Type Step-by-Step
Making a Registration Templet
Layered Intaglio-Type
Ink-Emboss with Intaglio-Type
Layered Image with Intaglio-Type
Layered Intaglio-Type Layered Intaglio-Type
Troubleshooting
Construction Intaglio-Type
Construction Intaglio-Type
Combination Techniques
Troubleshooting
Direct Intaglio-Type
Quick Look
Direct Intaglio-Type
Crackle Intaglio-Type
Materials & Equipment
Crackle Intaglio-Type Step-by-Step
Combination Techniques
Troubleshooting
Wrinkled Intaglio-Type
Beyond the Basic Concept
Wrinkled Intaglio-Type Step-by-Step
Troubleshooting
Etched Intaglio-Type
The Most Important Step Test
Etched Intaglio-Type Step-by-Step
Etched Intaglio-Type for Hand-Made Stencils
Digital Halftone
Quick Look
Using the EPSON Stylus 7600 with UltraChrome inks
Making a Digital Halftone on the Epson 7600
UltraChrome
ImagOn Plate Making with the Digital Halftone
Troubleshooting
Digital Halftone Test
Using the EPSON Color Stylus 3000
Mac OS and Adobe Photoshop version 7
Making a Digital Halftone with the Epson 3000 InkJet Printer
Process Color Intaglio-Type (Dot-Test) By David Jay Reed
What is a Process Color Intaglio-Type?
Equipment
Finding the correct dot density
Importing the Image
Creating a Test Image
Converting the image to grayscale
Sizing the image
Finding the darkest area
Creating the First Test Area
Creating the Second Test Area
Creating the Fourth Test Area
Printing the Transparency
Assessing the Dot Structure
Process Color Intaglio-Type (Sampling) By David Jay Reed
Creating the Transparencies
Importing the Image
Sizing the Image
Converting the Image to CMYK
Displaying the Info Palette
Sampling the Cyan Channel
Sampling the Magenta Channel
Sampling the Yellow Channel
Sampling the Black Channel
Adjusting the channel Levels
Adjusting the Cyan Channel
Adjusting the other Channels
Preparing the Channels Blurring the Cyan Channel Adding Noise to the Cyan Channel
Printing the Channels
Printing the Cyan Channel
Assessing the Dot Structure
Printing the other channels
Process Color Intaglio-Type (Printing) By David Jay Reed
Cutting the Plates
Preparing the Plates with ImagOn ULTRA
Exposing the Images on to the plates
Aligning the Transparency to the Plate
Exposing the Black Plate
Exposing the Cyan Plate
Exposing the Remaining Two Plates
Developing the Plates
Preparing the plates and paper registration
Mixing Inks
Oil based inks (Graphic Chemical)
Water-based Inks (Rostow & Jung)
Printing
4
Color Intaglio-Type / Elizabeth Dove
4-color Intaglio-Type Step-by-Step
Reworking the Intaglio-Type Plate
Reworking the Intaglio-Type Plate
Screen Filler and Liquid Aquatint
Mixing the Liquid Aquatint