Intaglio Acrylic-resist etching, collagraphy, engraving, drypoint, mezzotint : the complete safety-first system for creative printmaking
Book - 2007
- Subjects
- Published
-
London ; New York, N.Y. :
Thames & Hudson
2007.
- Language
- English
- Main Author
- Other Authors
- Item Description
- Includes index.
- Physical Description
- 240 p. : ill. (chiefly col.) ; 26 cm
- ISBN
- 9780500513439
9780500286616
- How Intaglio Printmaking Developed
- The origins of intaglio
- The innovators and their techniques
- The Move Towards Safer Working Methods
- Traditional intaglio techniques and their implications for health, safety and the environment
- Plates and traditional plate preparation methods
- Traditional resists, their solvents and etching the plate
- Traditional collagraphic plate-making
- Traditional inks and their solvents
- Sourcing information about chemicals and their correct use
- How chemicals enter the body
- High-risk groups
- A complete safer intaglio system
- Planning and Equipping a Studio for Intaglio Printmaking
- Planning the studio
- Equipping the studio
- General studio facilities and equipment
- Equipment and workstation for direct intaglio methods
- Equipment and workstations for acrylic-resist etching methods
- Equipment and workstation for collagraph methods
- Equipment and facilities for light-sensitive intaglio methods
- Workstations for making positives
- Equipment and facilities for printing
- Good studio practice
- Personal equipment
- The Principles of Intaglio Printmaking
- The artist's concept
- Making an intaglio plate
- Subtractive methods
- Additive methods
- Combined intaglio methods
- Printing from the plate
- Preparing the Plate
- Selecting plate materials
- Cutting and filing plates
- Cleaning and de-oxidizing plates
- Graining the plate surface
- Polishing the plate surface
- Degreasing and rinsing plates
- Direct Intaglio Methods
- Engraving
- Drypoint
- Mezzotint
- Scraping and burnishing
- Repoussage
- Air-abrading techniques, including the use of light-sensitive and other masks
- Etching
- The etching process and the use of resists
- Etching working practice checklist
- Plate-backing resists
- Types of plate-backing resist and their application methods
- Hard resists
- Making a guide drawing
- Drawing into the resist
- Working into the resist to create broad open areas
- Types of hard resist and their application methods
- Soft resists
- Creating collage-type impressions
- The classical offsetting drawing method
- Drawing directly into the soft resist
- Types of soft resist and their application methods
- Stop-out resist and controlling tone
- Painting methods
- Drawing into the stop-out resist
- Correcting or editing an image
- Stopping out and the stage-biting process
- Types of stop-out resist
- Creating tonal structures and the aquatint method
- Using the puncturing method
- Creating a scrobiculated surface using soft resist
- Creating an etched ink-holding grid using soft resist
- Creating an aquatint
- Types of acrylic resist for aquatint
- Wash resists
- Painting methods
- Types of wash resist
- Photoresists
- Lamination method
- Exposing the photoresist
- Developing the photoresist
- Curing, drying, etching or working the plate further
- Other types of resist
- Oily resists
- Waterproof marker pens
- Photocopy transfers
- Adhesive tapes
- Etching the plate
- Mordants
- Mordants which are not recommended
- Mordants which are recommended
- Collagraphy
- Collagraphy
- Creating fine linear work
- Creating contour lines
- Creating textures, tones and patterns
- Creating, lines, washes and tonal areas with carborundum
- Creating mezzotint effects and pale tones
- Using screenprinting techniques
- Photocollagraphy
- Using dry film photoresist to create photocollagraph plates
- Using flexographic water-washable photopolymer plates as photocollagraphs
- Positives
- Using positives in light-sensitive intaglio printmaking
- Substrates and materials used for positives
- Autographic positives
- Photographic positives
- Digital positives
- Photocopy positives
- Halftone contact screens
- Colour separation and process printing
- Inking-Up and Printing Methods
- Approaches to printing
- The intaglio inking-up and printing method
- A la poupee
- Embossing
- Chine colle
- Roll-over and viscosity printing methods
- Monotypes
- Combining intaglio with other media
- Registration methods
- Inks and additives
- Making inks for intaglio methods
- Removing Resists, Collagraph Materials and Inks from the Plate
- Sodium carbonate stripping solution
- Lascaux Remover and Mystrol
- Vegetable oil
- Printing Substrates
- Paper
- Preparing the paper for printing
- Other substrates and printing into plaster
- Collating and Presenting Intaglio Prints
- Collating intaglio prints
- Presenting intaglio prints
- Storing plates
- International Suppliers of Materials
- Glossary
- Picture Credits
- Index