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000471433 001__ 471433
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000471433 008__ 030508s2003\\\\nyua\\\\\b\\\\000\0\eng\\
000471433 010__ $$a  2003106700
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000471433 020__ $$a0974194603$$qpaperback
000471433 035__ $$a(OCoLC)ocm52787204
000471433 035__ $$a471433
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000471433 05000 $$aNE1625$$b.H68 2003
000471433 08204 $$a760.28
000471433 1001_ $$aHoward, Keith$$q(Keith John)
000471433 24514 $$aThe contemporary printmaker :$$bintaglio-type & acrylic resist etching /$$cby Keith Howard ; contributions from Friedhard Kiekeben ... [et al.].
000471433 260__ $$aRochester, N.Y. :$$bWrite-Cross Press,$$cc2003.
000471433 300__ $$axiii, 243 p. :$$bill. (chiefly col.) ;$$c28 cm.
000471433 504__ $$aIncludes bibliographical references (p. 242).
000471433 50500 $$gForward /$$rFriedhard Kiekeben --$$tFear of Change --$$tResistance to a Healthier Way --$$tEvolution --$$tPhotopolymer Film --$$tImagOn ULTRA --$$tThe Non-Toxic Journey --$$tNew Printmaking Terminology --$$tContemporary Printmaking Survey --$$tA Contemporary Printmaking Renaissance --$$tSafer Intaglio Studio Setup --$$tDisposal of Toxic Materials --$$tEtching Press --$$tDesigning Work Stations --$$tImagOn Laminating Area --$$tImagOn Processing --$$tArea --$$tPlate Finishing Area --$$tSoda Ash Measuring Station --$$tPlate Drying Station --$$tImagOn Plate Reclaiming Station --$$tFerric Chloride & Edinburgh Etch Etching Station --$$tImagOn Exposure Area --$$tAcrylic Aquatint Spray Booth --$$tHard & Soft-Ground Area --$$tAcrylic Aquatint Spray Booth --$$tHard & Soft-Ground Area --$$tPaper Soaking & Preparation --$$tHot-Plate Area --$$tInking Stations --$$tLarge Plate Wash-Out Area --$$tPrint Drying & Paper Flattening --$$tLayout Table --$$tIntaglio Type Exposure Systems --$$tThe Least Expensive Exposure System --$$tThe Vacuum Frame --$$tTiming the Light Exposure --$$tWhat is a Light Integrator? --$$tThe Photocell --$$tCalibrating the Photocell --$$tConnecting the Photocell to the Integrator --$$tUpgrading to a Better Lamp --$$tOlec DEC 22 x 28 Exposure Unit --$$tSetting up the DEC 22 x 28 --$$tOperating the DEC 22 x 28 --$$tMaking Step Tests with the DEC --$$tPortable Exposure Unit --$$tExposure Guide: Aquatint Screen --$$tFlash --$$tMylar --$$tGouache --$$tToner --$$tOiled Photocopies --$$tDigital Halftone --$$tIntaglio-Type Introduction --$$tIntaglio-Type Terminology --$$tOther Photopolymer Films --$$tImagOn ULTRA --$$tThe Importance of Testing --$$tHow to Proceed --$$tIntaglio-Type Plates --$$tPlate Making Materials --$$tSmall Plate Preparation & ImagOn Lamination --$$tCopper --$$tPlastic Plates --$$tZinc --$$tAluminum --$$tSteel Plates --$$tStarting Equipment --$$tTesting the Working Time --$$tIn Your Studio --$$tFor ImagOn ULTRA --$$tSafe Handling --$$tMethod for removing Inside Peel-Back Layer --$$tSmall Plate Lamination --$$tLarge Plate Preparation & ImagOn Lamination --$$tSubmersion Lamination for Large Plates or for more than Two Layers of ImagOn --$$tTroubleshooting --$$tImagOn Developer Testing the Developer --$$tMaterials for Mixing Developer --$$tThe ImagOn Developer --$$tMixing ImagOn Developer: Testing the ImagOn Developer --$$tWHY is this test so Important? --$$tTesting Materials Testing Procedure --$$tThe test is now ready to commence --$$tReading the Test Plate --$$tTest Shows Soda Ash is Too Weak --$$tTest Shows Soft-Water --$$tThis is a One Time Test --$$tEtched Intaglio-Type Test Plate --$$tImagOn Plate Development --$$tImagOn Plate Development --$$tDevelopment Materials --$$tImagOn ULTRA Standard Development Final Edge Preparation (optional) Trouble Shooting --$$tGuide to Problem Free Plate-Making --$$tAquatint Screen & Image Exposure Test --$$tWhy the Aquatint Screen? --$$tDifferent Exposure Units --$$tAquatint Screen Exposure Test --$$tTwo Tests in One -- Aquatint Screen Step Test & Image Exposure Test --$$tThe Flash Exposure --$$tFlash Exposure Set-up --$$tFlash Test Exposure Step-by-Step --$$tTroubleshooting --$$tDuo-Tone Intaglio-Type --$$tDamaged Aquatint Screens --$$tIntaglio Paper & Preparation --$$tPreparing Intaglio Paper --$$tHahnemuhle Paper Dampening --$$tCutting or Ripping Paper --$$tFinal Print Preparation --$$tRemoving Unwanted Marks --$$tSigning Off a Print --$$tIntaglio Printing --$$tMaterials for Inking --$$tBefore Proceeding --$$tIntaglio Printing Final Plate Edge Wipe --$$tThe Plate is Now Ready to Print --$$tCleaning the Plate --$$tKeeping the Ink off Your Fingers --$$gTroubleshooting --$$tAkua Intaglio Ink Troubleshooting Guide Directly from the Manufacturer --$$tHow to Mix Akua Intaglio --$$tMixing Loose colors --$$tMixing Stiff colors --$$tInk Consistency --$$tTo Stiffen Ink --$$tTo Loosen Ink --$$tAfter Mixing --$$tWiping the plate --$$tPaper --$$tRe-Soaking Prints --$$tDrying Time --$$tCleaning Up --$$tToner-Wash: Mix & Test --$$tToner-Wash Materials --$$tDrawing and Wash Media --$$tToner-Wash Step-by-Step --$$tTonerwash Formula --$$tRecycling Used Photocopy Toner --$$gTroubleshooting --$$tWash-Drawing Intaglio-Type --$$tWash-Drawing Intaglio-Type --$$tOther Wash-Drawing Media --$$tMulti-Plate Wash-Drawing Intaglio-Type --$$tMulti-Plate Wash-Drawing Intaglio-Type Step-by-Step --$$tPastel Intaglio-Type --$$tPastel Intaglio-Type Step-by-Step --$$tSpit-Bite Intaglio-Type --$$tQuick Look --$$tSpit-Bite Intaglio-Type Step-by-Step --$$tRe-work the plate with Construction Intaglio-Type --$$tTroubleshooting --$$tMaximum Working Time for Soda Ash Developing Solutions --$$tMezzo Intaglio-Type --$$gTroubleshooting --$$tStencil Intaglio-Type --$$tStencil Intaglio-Type Step-by-Step --$$tMix three batches of different strength soda ash developer --$$gTroubleshooting --$$tLine/Aquatint Intaglio-Type --$$tMaterials Line Intaglio-Type Step-by-Step --$$tLine-Etch Intaglio-Type --$$tCombining Line Intaglio-Type with Aquatint Intaglio-Type --$$tLine & Aquatint Intaglio-Type Step-by-Step --$$tMaking a Registration Templet --$$tLayered Intaglio-Type --$$tInk-Emboss with Intaglio-Type --$$tLayered Image with Intaglio-Type --$$tLayered Intaglio-Type Layered Intaglio-Type --$$tTroubleshooting --$$tConstruction Intaglio-Type --$$tConstruction Intaglio-Type --$$tCombination Techniques --$$gTroubleshooting --$$tDirect Intaglio-Type --$$tQuick Look --$$tDirect Intaglio-Type --$$tCrackle Intaglio-Type --$$tMaterials & Equipment --$$tCrackle Intaglio-Type Step-by-Step --$$tCombination Techniques --$$gTroubleshooting --$$tWrinkled Intaglio-Type --$$tBeyond the Basic Concept --$$tWrinkled Intaglio-Type Step-by-Step --$$gTroubleshooting --$$tEtched Intaglio-Type --$$tThe Most Important Step Test --$$tEtched Intaglio-Type Step-by-Step --$$tEtched Intaglio-Type for Hand-Made Stencils --$$tDigital Halftone --$$tQuick Look --$$tUsing the EPSON Stylus 7600 with UltraChrome inks --$$tMaking a Digital Halftone on the Epson 7600 -- UltraChrome --$$tImagOn Plate Making with the Digital Halftone --$$gTroubleshooting --$$tDigital Halftone Test --$$tUsing the EPSON Color Stylus 3000 --$$tMac OS and Adobe Photoshop version 7 --$$tMaking a Digital Halftone with the Epson 3000 InkJet Printer --$$tProcess Color Intaglio-Type (Dot-Test) By David Jay Reed --$$tWhat is a Process Color Intaglio-Type? --$$tEquipment --$$tFinding the correct dot density --$$tImporting the Image --$$tCreating a Test Image --$$tConverting the image to grayscale --$$tSizing the image --$$tFinding the darkest area --$$tCreating the First Test Area --$$tCreating the Second Test Area --$$tCreating the Fourth Test Area --$$tPrinting the Transparency --$$tAssessing the Dot Structure --$$tProcess Color Intaglio-Type (Sampling) By David Jay Reed --$$tCreating the Transparencies --$$tImporting the Image --$$tSizing the Image --$$tConverting the Image to CMYK --$$tDisplaying the Info Palette --$$tSampling the Cyan Channel --$$tSampling the Magenta Channel --$$tSampling the Yellow Channel --$$tSampling the Black Channel --$$tAdjusting the channel Levels --$$tAdjusting the Cyan Channel --$$tAdjusting the other Channels --$$tPreparing the Channels Blurring the Cyan Channel Adding Noise to the Cyan Channel --$$tPrinting the Channels --$$tPrinting the Cyan Channel --$$tAssessing the Dot Structure --$$tPrinting the other channels --$$tProcess Color Intaglio-Type (Printing) By David Jay Reed --$$tCutting the Plates --$$tPreparing the Plates with ImagOn ULTRA --$$tExposing the Images on to the plates --$$tAligning the Transparency to the Plate --$$tExposing the Black Plate --$$tExposing the Cyan Plate --$$tExposing the Remaining Two Plates --$$tDeveloping the Plates --$$tPreparing the plates and paper registration --$$tMixing Inks --$$tOil based inks (Graphic Chemical) --$$tWater-based Inks (Rostow & Jung) --$$tPrinting --$$t4 -- Color Intaglio-Type /$$rElizabeth Dove --$$t4-color Intaglio-Type Step-by-Step --$$tReworking the Intaglio-Type Plate --$$tReworking the Intaglio-Type Plate --$$tScreen Filler and Liquid Aquatint --$$tMixing the Liquid Aquatint
000471433 5201_ $$a"Contemporary Intaglio Printmaking has evolved over the past 15 years to become much more than a safer alternative to traditional intaglio. It has become expansive both in philosophy and form. Intaglio-Type offers a creative Dynamic unprecedented in printmaking history. Acrylic Resist Etching increases the imagemaking potential of metal plate etching. This book is the Contemporary Printmaking 'Bible'. Book jacket."--BOOK JACKET.
000471433 650_0 $$aIntaglio printing$$xTechnique.
000471433 85200 $$bgen$$hNE1625$$i.H68$$i2003
000471433 909CO $$ooai:library.usi.edu:471433$$pGLOBAL_SET
000471433 980__ $$aBIB
000471433 980__ $$aBOOK