Intaglio: Acrylic-Resist Etching, Collagraphy, Engraving, Drypoint, Mezzotint: The Complete Safety-First System for Creative Printmaking


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, ...
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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.
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Product Details

  • ISBN-13: 9780500286616
  • Publisher: Thames & Hudson
  • Publication date: 4/28/2008
  • Pages: 240
  • Sales rank: 1,165,051
  • Product dimensions: 8.90 (w) x 9.80 (h) x 0.80 (d)

Meet the Author

Robert Adam and Carol Robertson worked at the renowned Edinburgh Printmakers Workshop for nine years. They now have their own studio, Graal Press, and teach at the Wimbledon School of Art.
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Table of Contents

How Intaglio Printmaking Developed
The origins of intaglio     8
The innovators and their techniques     8
The Move Towards Safer Working Methods
Traditional intaglio techniques and their implications for health, safety and the environment     27
Plates and traditional plate preparation methods     27
Traditional resists, their solvents and etching the plate     27
Traditional collagraphic plate-making     31
Traditional inks and their solvents     31
Sourcing information about chemicals and their correct use     32
How chemicals enter the body     33
High-risk groups     34
A complete safer intaglio system     34
Planning and Equipping a Studio for Intaglio Printmaking
Planning the studio     37
Equipping the studio     40
General studio facilities and equipment     40
Equipment and workstation for direct intaglio methods     46
Equipment and workstations for acrylic-resist etching methods     47
Equipment and workstation for collagraph methods     50
Equipment and facilities for light-sensitive intaglio methods     50
Workstations for making positives     51
Equipment and facilities for printing     52
Good studio practice     56
Personal equipment     58
The Principles of Intaglio Printmaking
The artist's concept     59
Making an intaglio plate     60
Subtractive methods     60
Additive methods     63
Combined intaglio methods     63
Printing from the plate     63
Preparing the Plate
Selecting plate materials     66
Cutting and filing plates     69
Cleaning and de-oxidizing plates     70
Graining the plate surface     71
Polishing the plate surface     75
Degreasing and rinsing plates     78
Direct Intaglio Methods
Engraving     82
Drypoint     86
Mezzotint     90
Scraping and burnishing     93
Repoussage     94
Air-abrading techniques, including the use of light-sensitive and other masks     94
The etching process and the use of resists     96
Etching working practice checklist     98
Plate-backing resists     99
Types of plate-backing resist and their application methods     100
Hard resists     102
Making a guide drawing     103
Drawing into the resist      103
Working into the resist to create broad open areas     104
Types of hard resist and their application methods     105
Soft resists     110
Creating collage-type impressions     111
The classical offsetting drawing method     113
Drawing directly into the soft resist     115
Types of soft resist and their application methods     115
Stop-out resist and controlling tone     119
Painting methods     120
Drawing into the stop-out resist     121
Correcting or editing an image     121
Stopping out and the stage-biting process     122
Types of stop-out resist     123
Creating tonal structures and the aquatint method     124
Using the puncturing method     125
Creating a scrobiculated surface using soft resist     126
Creating an etched ink-holding grid using soft resist     127
Creating an aquatint     128
Types of acrylic resist for aquatint     136
Wash resists     138
Painting methods     138
Types of wash resist     140
Photoresists     140
Lamination method     142
Exposing the photoresist      144
Developing the photoresist     146
Curing, drying, etching or working the plate further     148
Other types of resist     148
Oily resists     148
Waterproof marker pens     150
Photocopy transfers     150
Adhesive tapes     151
Etching the plate     151
Mordants     151
Mordants which are not recommended     152
Mordants which are recommended     154
Collagraphy     162
Creating fine linear work     164
Creating contour lines     166
Creating textures, tones and patterns     167
Creating, lines, washes and tonal areas with carborundum     172
Creating mezzotint effects and pale tones     173
Using screenprinting techniques     176
Photocollagraphy     176
Using dry film photoresist to create photocollagraph plates     177
Using flexographic water-washable photopolymer plates as photocollagraphs     179
Using positives in light-sensitive intaglio printmaking     181
Substrates and materials used for positives     181
Autographic positives     181
Photographic positives      189
Digital positives     190
Photocopy positives     191
Halftone contact screens     191
Colour separation and process printing     192
Inking-Up and Printing Methods
Approaches to printing     193
The intaglio inking-up and printing method     193
A la poupee     198
Embossing     198
Chine colle     199
Roll-over and viscosity printing methods     201
Monotypes     203
Combining intaglio with other media     206
Registration methods     208
Inks and additives     210
Making inks for intaglio methods     212
Removing Resists, Collagraph Materials and Inks from the Plate
Sodium carbonate stripping solution     214
Lascaux Remover and Mystrol     215
Vegetable oil     215
Printing Substrates
Paper     217
Preparing the paper for printing     219
Other substrates and printing into plaster     220
Collating and Presenting Intaglio Prints
Collating intaglio prints     222
Presenting intaglio prints     224
Storing plates     224
International Suppliers of Materials     230
Glossary      235
Picture Credits     237
Index     238
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