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Polymer Photogravure: A Step-by-Step Manual, Highlighting Artists and Their Creative Practice [Minkštas viršelis]

4.67/5 (10 ratings by Goodreads)
  • Formatas: Paperback / softback, 298 pages, aukštis x plotis: 254x203 mm, weight: 940 g, 2 Tables, black and white; 9 Line drawings, color; 192 Halftones, color
  • Serija: Contemporary Practices in Alternative Process Photography
  • Išleidimo metai: 05-Dec-2018
  • Leidėjas: Routledge
  • ISBN-10: 0815366043
  • ISBN-13: 9780815366041
Kitos knygos pagal šią temą:
  • Formatas: Paperback / softback, 298 pages, aukštis x plotis: 254x203 mm, weight: 940 g, 2 Tables, black and white; 9 Line drawings, color; 192 Halftones, color
  • Serija: Contemporary Practices in Alternative Process Photography
  • Išleidimo metai: 05-Dec-2018
  • Leidėjas: Routledge
  • ISBN-10: 0815366043
  • ISBN-13: 9780815366041
Kitos knygos pagal šią temą:
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, ą 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 Harmons instructions, continuous tone intaglio prints are within the reach of all.

Recenzijos

Harmon's book is the most comprehensive book to date on photopolymer gravure, delivering a wealth of information in an easygoing, clear manner. The work and essays by current practitioners is a real bonus. This book is a must-read for those already practicing photopolymer gravure and those new to the process.

Mark I. Nelson, Photographer specializing in photopolymer gravure, platinum/palladium processes, and digital negatives

Preface
Chapter 1 Introduction
1(12)
Beginnings
3(1)
Attributes of the Process
3(10)
A Brief Description of Traditional Ink-on-Paper Printing Methods
4(1)
Relief Printing
4(1)
Planographic Printing
4(1)
Intaglio printing
5(1)
The Problem of Continuous Tone
6(1)
Polymer Plates and How They Work
6(1)
Polymer Plate Relief Printing
7(1)
Polymer Plate Intaglio Printing
7(1)
Aquatint
8(1)
The Polymer Aquatint
8(5)
Section One The Polymer Photogravure Studio: Overview of Studio Preparation
13(40)
Chapter 2 The Physical Studio: Materials and Equipment
15(32)
Safety
15(1)
Be Smart about Chemicals
15(1)
Minimize Skin Contact with Any Chemicals
15(1)
Minimize Exposure to Vapors
15(1)
Take Care of Your Eyes
16(1)
Keep a Clean Workspace
16(1)
The Etching Press
16(5)
Overview
16(1)
Etching Press Basics
16(1)
The Parts of an Etching Press
17(2)
Etching Press Features
19(1)
Buying an Etching Press
20(1)
Etching Press Accessories
21(4)
The Photopolymer Plates
23(1)
Types of Photopolymer Plates
23(1)
Storage of Unused Plates
24(1)
Studio Equipment
25(11)
Plate Cutter
25(1)
Trays and Brushes
26(1)
Aquatint Screens
26(2)
Marking and Measuring Tools
28(1)
Plate Drying Options
28(1)
Exposure Units
29(3)
Ink Handling
32(1)
Warming Plate
32(1)
Plant Misting Sprayer
32(1)
Drying Racks
32(1)
Print Drying Equipment
33(1)
Miscellaneous Items
34(2)
Studio Consumable Materials
36(6)
Anti-Offset Powder
36(1)
Overhead Transparency Film
37(1)
Clear 1-MilMylar Plastic
37(1)
Paper Terminology
38(1)
European Papers
39(1)
Asian Papers
39(1)
Plastic Sheeting
39(1)
Intaglio Ink
39(1)
Paste
40(1)
Newsprint
41(1)
Cloth Rags
41(1)
Cleanup Solvents
42(1)
General Studio Requirements
42(1)
Inking Table
42(1)
List of Suppliers
42(5)
Etching Presses
43(1)
General Printmaking Supplies
43(1)
Polymer Plates
43(1)
Aquatint Screens
43(1)
General Studio Equipment and Materials
43(1)
Printing Papers
43(4)
Chapter 3 Digital Studio: The Virtual Workspace
47(6)
Computer and Monitors
47(1)
Printers
47(1)
Image-Editing Software
48(1)
Scanners and Scanner Software
48(1)
Calibration Hardware
48(1)
Setting Up the Digital Workspace
49(1)
Basic Digital Editing Knowledge
49(1)
Concluding Remarks
50(3)
Section Two The Process of Polymer Photogravure
53(64)
If You Are New to the Process
53(1)
Overview of the Process
54(3)
Chapter 4 Making a Photogravure Print
57(1)
Paper and Press Preparation
57(1)
Paper Preparation
57(1)
Tearing Down the Paper to Size
57(1)
Dampening the Paper
57(1)
Press Preparation Overview
58(1)
Inking, Wiping, and Printing
58(4)
Preparing the Ink
62(1)
Wiping the Ink onto the Plate
63(1)
Wiping the Ink from the High Areas of the Plate
64(2)
Cleaning the Edges and the Back of the Plate
66(1)
Making the Print
67(2)
Chapter 5 Making a Polymer Photogravure Plate
69(1)
Exposing and Processing a Polymer Plate
69(1)
Material and Equipment Needed
69(1)
Making the Aquatint Screen Exposure
69(1)
Making the Image Exposure
69(1)
Etching the Plate in the Water
69(2)
Drying the Plate with Heat
71(1)
Post-Exposure Hardening
71(1)
Trimming and Deburring the Plate
71(1)
Exposure Calibration of Polymer Plates
71(7)
Preliminaries
72(1)
Estimating a Ballpark Screen Exposure
72(2)
Determining a Screen Exposure Value Using the Screen Exposure Test Strip Image
74(4)
Fine-tuning the Gradation
78(5)
Some Final Thoughts on Calibration
83(1)
Turning this Workflow into a Photoshop Action
84(7)
Chapter 6 Photogravure: Additional Techniques
91(10)
Chine-colle
91(1)
A Chine-colle Shortcut
91(1)
A la Poupee
92(3)
Printing on Unusual Substrates
95(1)
Direct Gravure, Photograms, and Non-Camera Techniques
96(5)
Chapter 7 Troubleshooting
101(6)
Light Patchy Areas
101(1)
Washed-Out Shadows
101(2)
Wavy Prints Under the Plate Impression
103(1)
Unwanted Patterns in the Print
103(1)
Measles
103(1)
Final Thoughts
103(4)
Chapter 8 Printing Portfolios and Editions
107(10)
General Considerations for Editions
107(1)
AP prints
108(1)
BAT prints
108(1)
HC prints
108(1)
Planning for Editions
108(2)
General considerations
108(1)
Print size
108(1)
Paper and ink choices
109(1)
The BAT print
109(1)
Printing an Edition
110(3)
Templates
110(1)
Workflow
110(3)
Finishing an Edition
113(1)
Flattening
113(1)
Retouching
113(1)
Trimming
113(2)
Signing
115(1)
Final Thoughts
115(2)
Section Three Current Practitioners of Polymer Photogravure
117(174)
Chapter 9 Contemporary Polymer Photogravure Artists
119(172)
Anne Berry
120(5)
Cinda Berry
125(6)
Ray Bidegain
131(4)
Diana Bloomfield
135(6)
Paula Brasil
141(5)
Byron Brauchli
146(4)
Tariq Dajani
150(4)
Susan de Witt
154(6)
Russell Dodd
160(5)
Keith Gerling
165(6)
Gerry Giliberti
171(3)
Martyn Grimmer
174(6)
Tracy Hill
180(5)
Karen Hymer
185(6)
Gesine Janzen
191(4)
Gerda Lelieveld
195(4)
Jon Lybrook
199(5)
Matt Magruder
204(5)
Barbara Maloney
209(6)
Constanza Isaza Martinez
215(5)
Janet Matthews
220(5)
Tim McCoy
225(6)
Peter Moseley
231(6)
Mark Nelson
237(5)
Trace Nichols
242(9)
Josephine Sacabo
251(9)
Jennifer Shaw
260(4)
Luc Van Quickenborne
264(5)
Alan Vlach
269(4)
Dicky Vlayen
273(5)
Jeanne Wells
278(6)
Paul Winstanley
284(7)
Bibliography
291(3)
Polymer Intaglio Printing
291(1)
General Intaglio Printing Techniques
292(1)
Traditional Copper Photogravure
293(1)
Index 294
Clay Harmons photographic work combines contemporary subject matter with historic photographic techniques. His interest is in the push/pull between the beautiful and the ugly often found in the urban landscape. Harmons work has shown nationally and internationally in over thirty shows and ten publications. He teaches workshops nationally in polymer photogravure and other historic photographic printing processes. To see his work, visit clayharmon.com.