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Photograv 3d12/28/2022 Today, faster methods to getting inkjet-quality photogravure prints from polymer, such as Direct-to-Plate (as taught by printmaking instructor Don Messic) and reliable, open-source software for calibrating your printer drivers for making custom digital negatives now exist. The only one most of us referenced was written by digital negative pioneer and process wizard Dan Burkholder. While excellent technical books on polymer platemaking and creating digital negatives for contact printing are now available, there were but a few good ones in 2004. We don’t sell them to the public because they are less forgiving than coarser screening processes, but yield superior, fine continuous tones for photogravure when handled and used under a controlled environment using the tried-and-true KM73/83 plates by Toyobo, for which our screens and system for making continuous tone plates was designed. At 1200 dpi, our fine, third-generation, heavy-duty aquatint screens with custom stochastic pattern are a double-edged sword. Our screen is 2-3 times as fine as traditional rosin dust used for aquatinting copper photogravure plates. Picking up where others’ work had left off, I created a custom workflow and process compensation curve to accommodate a finer, higher-resolution aquatint screen than anyone else was using at the time. Jon Lybrook, Owner and Master Printmaker, Intaglio Editions The traditional printmakers weren’t concerned with it, and the computer nerds (of which I am one) didn’t have any meaningful elbow grease or track record when it came to making traditional intaglio prints. I posted it in response to a lack of comprehensive information about the subject as it pertained to creating continuous tone images for photography. When I first put my procedure for making and printing polymer photogravure plates online in 2006, it was after a few years of my own frustrations in the process.
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