Acrylic-resist Etching, Collagraphy, Engraving, Drypoint, Mezzotint : the Complete Safety-first System for Creative Printmaking
Adam, Robert (Book - 2007)
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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.
Authors: Adam, Robert
Title: Intaglio
acrylic-resist etching, collagraphy, engraving, drypoint, mezzotint : the complete safety-first system for creative printmaking
Publisher: London : Thames & Hudson, 2007
Characteristics: 240 p. :,ill. (chiefly col.) ;,26 cm
Statement of Responsibility: Robert Adam, Carol Robertson
Notes: Includes index
Contents: [pt. 11]. Removing resists, collagraph materials and inks from the plate
Sodium carbonate stripping solution
Lascaux remover and Mystrol vegetable oil
Printing substrates
Preparing the paper for printing
[pt. 12]. Collating and presenting intaglio prints
Collating intaglio prints
Presenting intaglio prints
Storing plates
International suppliers of materials
Picture credits
[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
Chine collé
Roll-over and viscosity printing methods
Combining intaglio with other media
Registration methods
Inks and additives
Making inks for intaglio methods
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
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 which are not recommended
Mordants which are recommended
[pt. 8]. 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
Using dry film photoresist to create photocollagraph plates
Using flexographic water-washable photopolymer plates as photocollagraphs
[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
Scraping and burnishing
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
[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
Additional Contributors: Robertson, Carol
ISBN: 0500513430
Branch Call Number: 765 A195i 2007
Subject Headings: Prints Technique Intaglio printing
Topical Term: Prints
Intaglio printing
LCCN: 2006908246
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