Learn how to Intaglio
Acrylic-resist Etching, Collagraphy, Engraving, Drypoint, Mezzotint : the Complete Safety-first System for Creative Printmaking
- set item rating to 0.5 out of 5.
- set item rating to 1 out of 5.
- set item rating to 1.5 out of 5.
- set item rating to 2 out of 5.
- set item rating to 2.5 out of 5.
- set item rating to 3 out of 5.
- set item rating to 3.5 out of 5.
- set item rating to 4 out of 5.
- set item rating to 4.5 out of 5.
- set item rating to 5 out of 5.
Add a Comment
Add Tags
Add More
Save to a List
-
Save to a Shared List
Print
Details
- Description
- Full Record
- Author Notes
- Contents
- Excerpts
- Reviews
- Summary
- A\\V Summary
Searching for more content…
The complete safety-first system for creative intaglio printmaking. This practical and inspirational book is the definitive guide to intaglio printmaking. With clear step-by-step instructions and hundreds of illustrations, it describes methods that, while employing a strong traditional basis, avoid the
… More »The complete safety-first system for creative intaglio printmaking. This practical and inspirational book is the definitive guide to intaglio printmaking. With clear step-by-step instructions and hundreds of illustrations, it describes methods that, while employing a strong traditional basis, avoid the use of toxic materials to achieve stunning prints the modern way-safer, healthier, and more environmentally friendly. Covering every stage of the plate-making and printing process, the book opens up creative possibilities for beginners and experienced printmakers alike. Whichever intaglio technique you wish to use-acrylic-resist etching methods such as aquatint, photo-etching, collagraphy, and photocollagraphy; or engraving, drypoint, mezzotint, burnishing, and air-abrading-classically trained printmakers Robert Adam and Carol Robertson show you how to do it. From setting up and equipping an intaglio studio, through choosing a printing method, to collating and presenting finished prints, this beautifully illustrated and comprehensive reference book-complete with a list of international suppliers and glossary-is the only resource any art practitioner, educator, or student will ever need. 229 illustrations, 199 in color.
« Less
Alternate Title:
Intaglio : the complete safety-first system for creative printmaking
Additional Contributors:
Imprint:
London - Thames & Hudson
Pages:
240
ISBN:
9780500513439, 0500513430
Call number:
765 A195i 2007
Language:
English
Contents:
[pt. 1]. How intaglio printmaking developed
The origins of intaglio
The innovators and their techniques
[pt. 2]. 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
[pt. 3]. 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 workstations for collagraphy methods
Equipment and facilities for light-sensitive intaglio methods
Workstations for making positives
Equipment and facilities for printing
Good studio practice
Personal equipment
[pt. 4]. The principles of intaglio printmaking
The artist's concept
Making an intaglio plate
Subtractive methods
Additive methods
Combined intaglio methods
Printing from the plate
[pt. 5]. 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
[pt. 6]. Direct intaglio methods
Engraving
Drypoint
Mezzotint
Scraping and burnishing
Repoussage
Air-abrading techniques, including the use of light-sensitive and other masks
[pt. 7]. 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
Developing the photoresist
Curing, drying, etching or working the plate further
Other types of resist
Oily resists
Waterproof maker pens
Photocopy transfers
Adhesive tapes
Etching the plate
Mordants
Mordants which are not recommended
Mordants which are recommended
[pt. 8]. Collagraphy
Collagraphy
Creating fine linear work
Creating coutour 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
[pt. 9]. 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
[pt. 10]. Inking-up and printing methods
Approaches to printing
The intaglio inking-up and printing method
À la poupée
Embossing
Chine collé
Roll-over and viscosity printing methods
Monotypes
Combining intaglio with other media
Registration methods
Inks and additives
Making inks for intaglio methods
[pt. 11]. 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
[pt. 12]. Collating and presenting intaglio prints
Collating intaglio prints
Presenting intaglio prints
Storing plates
International suppliers of materials
Glossary
Picture credits
Index
The origins of intaglio
The innovators and their techniques
[pt. 2]. 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
[pt. 3]. 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 workstations for collagraphy methods
Equipment and facilities for light-sensitive intaglio methods
Workstations for making positives
Equipment and facilities for printing
Good studio practice
Personal equipment
[pt. 4]. The principles of intaglio printmaking
The artist's concept
Making an intaglio plate
Subtractive methods
Additive methods
Combined intaglio methods
Printing from the plate
[pt. 5]. 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
[pt. 6]. Direct intaglio methods
Engraving
Drypoint
Mezzotint
Scraping and burnishing
Repoussage
Air-abrading techniques, including the use of light-sensitive and other masks
[pt. 7]. 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
Developing the photoresist
Curing, drying, etching or working the plate further
Other types of resist
Oily resists
Waterproof maker pens
Photocopy transfers
Adhesive tapes
Etching the plate
Mordants
Mordants which are not recommended
Mordants which are recommended
[pt. 8]. Collagraphy
Collagraphy
Creating fine linear work
Creating coutour 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
[pt. 9]. 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
[pt. 10]. Inking-up and printing methods
Approaches to printing
The intaglio inking-up and printing method
À la poupée
Embossing
Chine collé
Roll-over and viscosity printing methods
Monotypes
Combining intaglio with other media
Registration methods
Inks and additives
Making inks for intaglio methods
[pt. 11]. 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
[pt. 12]. Collating and presenting intaglio prints
Collating intaglio prints
Presenting intaglio prints
Storing plates
International suppliers of materials
Glossary
Picture credits
Index
Notes:
Includes index
[pt. 1]. How intaglio printmaking developed -- The origins of intaglio -- The innovators and their techniques -- [pt. 2]. 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 -- [pt. 3]. 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 workstations for collagraphy methods -- Equipment and facilities for light-sensitive intaglio methods -- Workstations for making positives -- Equipment and facilities for printing -- Good studio practice -- Personal equipment --
[pt. 4]. The principles of intaglio printmaking -- The artist's concept -- Making an intaglio plate -- Subtractive methods -- Additive methods -- Combined intaglio methods -- Printing from the plate -- [pt. 5]. 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 -- [pt. 6]. Direct intaglio methods -- Engraving -- Drypoint -- Mezzotint -- Scraping and burnishing -- Repoussage -- Air-abrading techniques, including the use of light-sensitive and other masks -- [pt. 7]. 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 -- Developing the photoresist -- Curing, drying, etching or working the plate further -- Other types of resist -- Oily resists -- Waterproof maker pens -- Photocopy transfers -- Adhesive tapes -- Etching the plate -- Mordants -- Mordants which are not recommended -- Mordants which are recommended -- [pt. 8]. Collagraphy -- Collagraphy -- Creating fine linear work -- Creating coutour 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 --
[pt. 9]. 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 -- [pt. 10]. Inking-up and printing methods -- Approaches to printing -- The intaglio inking-up and printing method -- À la poupée -- Embossing -- Chine collé -- Roll-over and viscosity printing methods -- Monotypes -- Combining intaglio with other media -- Registration methods -- Inks and additives -- Making inks for intaglio methods --
[pt. 11]. 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 -- [pt. 12]. Collating and presenting intaglio prints -- Collating intaglio prints -- Presenting intaglio prints -- Storing plates -- International suppliers of materials -- Glossary -- Picture credits -- Index
[pt. 1]. How intaglio printmaking developed -- The origins of intaglio -- The innovators and their techniques -- [pt. 2]. 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 -- [pt. 3]. 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 workstations for collagraphy methods -- Equipment and facilities for light-sensitive intaglio methods -- Workstations for making positives -- Equipment and facilities for printing -- Good studio practice -- Personal equipment --
[pt. 4]. The principles of intaglio printmaking -- The artist's concept -- Making an intaglio plate -- Subtractive methods -- Additive methods -- Combined intaglio methods -- Printing from the plate -- [pt. 5]. 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 -- [pt. 6]. Direct intaglio methods -- Engraving -- Drypoint -- Mezzotint -- Scraping and burnishing -- Repoussage -- Air-abrading techniques, including the use of light-sensitive and other masks -- [pt. 7]. 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 -- Developing the photoresist -- Curing, drying, etching or working the plate further -- Other types of resist -- Oily resists -- Waterproof maker pens -- Photocopy transfers -- Adhesive tapes -- Etching the plate -- Mordants -- Mordants which are not recommended -- Mordants which are recommended -- [pt. 8]. Collagraphy -- Collagraphy -- Creating fine linear work -- Creating coutour 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 --
[pt. 9]. 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 -- [pt. 10]. Inking-up and printing methods -- Approaches to printing -- The intaglio inking-up and printing method -- À la poupée -- Embossing -- Chine collé -- Roll-over and viscosity printing methods -- Monotypes -- Combining intaglio with other media -- Registration methods -- Inks and additives -- Making inks for intaglio methods --
[pt. 11]. 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 -- [pt. 12]. Collating and presenting intaglio prints -- Collating intaglio prints -- Presenting intaglio prints -- Storing plates -- International suppliers of materials -- Glossary -- Picture credits -- Index
Statement of responsibility:
Robert Adam, Carol Robertson
Characteristics:
240 p. :,ill. (chiefly col.) ;,26 cm
Author (Original Script):
Adam, Robert
MARC Display»
Community Activity
Find it at MCL
Loading...
Please keep in mind that some of the content that we make available to you through this application comes from Amazon Web Services. All such content is provided to you "as is". This content and your use of it are subject to change and/or removal at any time.
Comment
Add a CommentThere are no comments for this title yet.