Henrik Bj2jegh

HANDBOOK OF

NON-TOXIC INTAGLIO

ACRYLIC RESISTS
PHOTOPOLYMER FILM & SOLAR PLATES
ETCHING

B 0 E G H
 Henrik B0egh

HANDBOOK OF

NON-TOXIC INTAGLIO

ACRYLIC RESISTS
PHOTOPOLYMER FILM & SOLAR PLATES
ETCHING

B 0 E G H
 Also publishedby the author:

The video programme and compendium:

,,NON-TOXIC INTAGLIO STEP BY STEP"

The videotapeillustratesall the workingprocessesdescribed
in this book.The video lasts 60 minutesand is availablein all
VHS systems (PAL, NTSC, SECAM). The videotape is
accompaniedby a compendiumdescribingall the processes
step by step. The compendiumcontains24 pages.

,,This is a well compiled video that explains the non-toxic process and technique
thoroughly and in detail. The Grafisk Eksperimentarium has worked hard to iron
out most of the problems that past users have found with this process. This is
the ,,must have" video for people who wish to take up this printmaking method."
Steve Hoskins in Printmaking Today spring 2001

,,In a calm, clarified flow, the video demonstrates the non-toxic process step by
step. The thorough division into sequences makes it easy to find one's way
through the various techniques and, if needed, rewind. The enclosed compendium
is a good supplement to the video and in itself a pedagogical tool that can stand
alone. In our effort to disseminate and teach the new health- and environment-
friendly working processes, we welcome this new set of tools.
Finn Naur Petersen (senior lecturer at the Royal Danish Academy of Fine Art),
in BKF-Bladet, Aug. 2000.

Copyright by Henrik B0egh and Forlaget B0egh

Photos/illustrations Henrik B0egh where nobody else
is mentioned
Layout and DTP Henrik B0egh and Ase H0jer
Printed by Narayana Press, Gylling - DK
Frontpage artwork Toner Washing by Henrik B0egh
Translation Helene Bengtson

Printed in Denmark 2003

First edition, first printing

ISBN 87-987757-2-3

Order the book from:

FORLAGET B0EGH
(The Printmakers' Experimentarium)
Trepkasgade 8, DK-2100 Copenhagen

Tel. (+45) 3535 3907 I Fax (+45) 3536 3821

All rights reserved. Ne part ef this publ!catien may be repreduced 111anv matenal E-mail: artguide@post5.tele.dk.
er e/ectrenic ferm witheut permission from the copyright holder. www.GrafiskEksperimentarium.dk
PREFACE
This is a handbook of Non-Toxic Intaglio. The book can
be read in its entirety and thus provide a survey of the
subject, but it is also able to serve as a reference book
with easily found solutions to specific problems. All
working processes in connection with the application and
use of acrylic resists, photopolymer film, solar plates and
etching have been thoroughly described and illustrated.
At the back of the book there is a user-friendly index and
a list of materials and litterature.
Content and Target Group
The primary content of the book has been written with
professional printmakers in mind. That goes for the main
chapters:
Acrylic Resists
Etching
Photopolymer Film and Solar Plates
As we are, however, moving in fairly uncharted territories,
the target group will hopefully be much wider. Therefore, I
have chosen to add three supplementary appendices:
Appendix l:TheTransition to the Non-Toxic Studio
This appendix addresses those who wish to change or
expand already existing printmaking studios so as to apply
the new techniques.
Appendix II: Digital Imaging
Here I address printmakers and others who are
inexperienced in digital imaging but who wish to prepare
computer-generated stencils for photopolymer gravure
and etchings.
Appendix Ill: Printing
This appendix addresses photographers and others who
wish to make their own prints without having any
experience beforehand.
The Printmakers' Experimentarium
The Printmakers' Experimentarium was established in
Copenhagen by the author in 1996 with the following aims:
• Testing and evaluating new printmaking techniques
and materials based on acrylics and polymers
• Imparting experience with such techniques and
materials to the art schools and creative artists
• Arranging workshops, conferences and
demonstrations of Non-Toxic Printmaking
• Advising schools and graphics workshops on
establishing and equipping Non-Toxic Studios
The motivation was found in the fact that the materials
which had previously been used contained a veritable
cocktail of acids and chemicals, the danger of which was
without parallel anywhere else in the creative arts.
The new acrylic resist etching system and the use of
photopolymer film were introduced as late as the mid
1990s, or approximately five hundred years after the
invention of intaglio printing. The development of these
new printing materials, which are supposed to be harmless
to the health and environment if used correctly, was
pioneered by visionary people like Keith Howard, Mike
Zafron, Friedhard Kiekeben, Robert Adam and othets in
the mid 1990s - to whom we can all be thankful today.

The Situation Today

Much has happened since then, and we now have a
complete non-toxic alternative to every process in
conventional intaglio. In addition, the introduction of new
materials and processes has given us a number of fresh
means of expression, which were impossible in
conventional intaglio.

Throughout my entire research in this field, it has been

my clear objective to limit the materials to the lowest
possible number with the highest possible efficiency. I
have also striven to create practical and affordable
solutions to the problem of finding the necessary
equipment for the various processes - and needless to
say, these solutions have had to meet the very strictest
demands of the professional printmaker.

Another crucial objective for me has been to stay clear

of affiliation with particular manufacturers or products.
The Printmakers' Experimentarium remains completely
independent of financial or other kinds of stakes
potentially held by the industry. The products mentioned
in this book have been chosen on the grounds of just
two criteria: They must have a stamp of approval from
the relevant authorities as regards health and
environment, and they must meet the professional
printmaker's demands in relation to the work of art which
is the all-important end-product. If or when new and better
materials are developed, the necessary information will
be made available on our website:

www.artbag.dk
(look for The Printmakers' Experimentarium).

In 1999 I published the video ,,Non-Toxic Intaglio Step by

Step'; and I have sincethen been encouragedby printmakers
all over the world to publish a handbook. With the present
publication, I hope to have honoured this request.
Henrik Beegh, May 2003
All prints have been made at The Printmakers' Experimentarium
except the one on page 75 left which has been made at The Canadian
School for Non-Toxic Printmaking.
CONTENTS

ROLL-ON SOFT AND HARD GROUND

General Remarks 20
Applying the Etching Ground 20
Roll-on Soft Ground 21
Soft Ground Drawings 21
Soft Ground Impressions 21
Roll-On Hard Ground 21
Other Options 22
Stopping Out 22
Removing the Etching Grounds 22
Summary 23
Materials 23
SPRAYED AQUATINT
General Remarks 24
Applying the Aquatint 24
Uniform Aquatint 25
Modulated Aquatint 26
Other Options 26
INTRODUCTION Stopping Out 27
Toxicity in Traditional Etching 9 Removing the Aquatint and the Stop-Out 27
The Chemistry of Acrylics 10 Summary 28
Materials 28
PLATE PREPARATION
General Remarks 13 LIFT GROUNDS
Sanding and Polishing 13 General Remarks 31
De-Greasing 13 Lift Ground Using Oil and Water 31
Summary 14 Removing the Etching Ground 31
Materials 14 Summary 31
Materials 31
ACRYLIC RESISTS 15 Reversed Lift Ground 32
Lift Ground Using Photopolymer Film 32
LIQUID HARD GROUND Removing the Photopolymer Film and Aquatint 32
General Remarks 16 Materials 33
Applying the Hard Ground 16
Transparent vs. Black Hard Ground 17 WASHINGS AS ACRYLIC RESISTS
Working in the Hard Ground 17 General Remarks 34
Stopping Out 17 Soft Ground Washings 34
Removing the Etching Grounds 17 Applying the Wash Media 34
Summary 19 Removing the Wash Media 35
Materials 19 ..Summary 35
 Materials 35 Laminating the Plate 50
White Ground 36 Lamination Solution 50
General Remarks 36 Preparing the Developer 51
Preparing the White Ground 36 Safety 51
Applying the White Ground 36 Calibrating Positives to the Exposure Unit 52
Applying White Ground to an Etched Plate 37 1 . Calibration of the Line Drawing 52
Removing the White Ground 37 2. Calibration of the Halftone 52
Summary 37 Sources of Error 53
Materials 37 3a. Calibration of the Aquatint Screen 53
3b.Calibration of the Continuous Tone 54
COLLOGRAPH TECHNIQUES Adjusting Contrast - Flash Exposure 55
Materials 38
PHOTOPOLYMER FILM - FOR ETCHINGS
ETCHING - BACKING AND STRIPPING 39 General Remarks 57
Thinning the Photopolymer Film 58
General Remarks 40 The Subject for Etching 58
Etching Copper in Ferric Chloride 41 The Black and White Drawing/Washing 58
Etching in Tanks 41 The Halftone (Photogravure) 59
Etching in Open Trays 41 Removing the Etching Ground 59
Disposal 42 Safety 59
Safety 42
Etching Zinc with the Bordeaux Etch 43 PHOTOPOLYMER PLATES-SOLAR PLATES
Etching the Zinc Plate 43 General Remarks 61
Disposal 43 Handling the Plates 61
Safety 43 Cutting the Plates 61
Before Exposure 61
BEFORE, DURING AND AFTER ETCHING UV Exposure 62
Backing the Plate 44 Development and Drying 62
De-Oxydizing 44 Hardening 62
Removing the Etching Grounds 44 Safety 62

PHOTOPOLYMER FILM AND SOLAR PLATES 45 CREATING THE POSITIVES

Drawing and Washing Techniques 65
General Remarks 46 Drawing and Washing Media 65
What Is Photopolymer? 47 Toner Washings 65
Photopolymer Film 47 UV Exposure 66
Two Techniques 47 Digitally Generated Stencils 68
General Remarks 68
PHOTOPOLYMER FILM - FOR NON-ETCHINGS The Printer 68
The Positives on Transparent Film 48 Printing the Halftone 69
1. The Line Drawing 48 Printing the Continuous Tone 70
2. The Halftone 48 Other Options and Effects 72
3. The Continuous Tone 49 Multiple Layers of Photopolymer Film 72
 Two Layers of Photopolymer Film 72
Drawing and Relief 73
Several Layers of Photopolymer Film 73
Laminating onto an Etched Plate 73
Laminating onto Other Materials 73
Sunlight Exposure 74
Create Effect for Effect 75
Wrinkled Images 75
Collage 75

PHOTOCOPYTRANSFER
General Remarks 77

APPENDIX I 79
The Transition to the Non-Toxic Studio
General Remarks - 0.1.Y. Drying Cabinet, Aquaint Cabinet,
UV-Exposure Cabinet - Vacuum Frame - Developer
Container - Light Table - Sinks and Containers - Etching
Tank

APPENDIX II 85
Scanning and Digital Imaging
General Remarks - The Kodak Photo CD - The Film
Scanner - The Perfect Negative for Photogravure -
The Flatbed Scanner - Digital Imaging: Open Image -
Change Mode - The Crop Tools - Levels Ajustments -
The Healing Brush - Save as Master Image - File Format
- Image Size - Sharpen Image

APPENDIX Ill 99
Intaglio Printing
Preparing the Printing Paper - Preparing the Etching Ink
- Inking the Plate - Wiping the Plate - Printing - Finishing
Treatments

BIBLIOGRAPHY 104

INDEX 104

RECOMMENDED MATERIALS 104

Open Letter to a Sceptic

Nothing in this world is Non-Toxic, neither the air we breathe, the food we
eat, the medicine the doctors prescribe or the materials mentioned in this
book. Toxicity is a relative term.

When despite of this I have still chosen the title ,,Handbook in Non-Toxic
Intaglio", it is because the ,,baby" was already named ,,Non-Toxic"at its birth
in the mid-1990s. Furthermore, the authorities officially use the
designation ,,AP Non-Toxic".Thus ,,Non-ToxicPrintmaking" today is a concept
or trade description covering a range of health and environment-friendly
working methods which all printmakers have at least heard of - hence the
title ,,Handbook in Non-Toxic Intaglio".

Although the book should rightfully be called ,,Handbook in Less-Toxic

Intaglio", I like the name ,,Non-ToxicPrintmaking" nonetheless, the reason
being that this apparent provocation has occasioned a sometimes hot
debate between its adherents and opponents and created a focus on what
we do as printmakers, what we do not do, and what we should be doing. For
500 years, nobody has questioned the materials and methods used by
printmakers. It was not until the launch of these new techniques that the
consideration we must show ourselves, each other and the environment
became an issue.

Today, no sensible human beings can defend working on with the conventional
methods and materials, not eventhe schools, where safety and exhaust
systems are state of the art - because what will Eve do when she has
completed her education, which has only taught her the toxic methods, and
she cannot afford the necessary safety equipment?

We all know that this is not an individual choice, but a common responsibility,
to the person standing next to you as well as to the environment in general,
and we all know that ,,Non-Toxic"or ,,Less-Toxic" printmaking is the future.
Let us appreciate that and continue a healthy debate. But let us not forget
to make some art - at the end of the day, that is what inspires us to a
better life; not only spiritually, but, as the pursuit of art makes us push
boundaries and develop new, healthier techniques, hopefully this better life
will be physical as well.

Henrik B0egh
INTRODUCTION
The overall motivational factor for the development of
the techniques and working methods described in this
book has of course been the threats to health and
environment posed by the technology of conventional
intaglio. If art schools and printmaking studios were to
live up to the rules and regulations pertaining to the
(working) environment of the graphic industry, the cost of
the necessary equipment for safety and ventilation would
be too much for the individual school or studio to bear
and thus inevitably close some of them down. In addition
to this, the chemicals used would still be present in the
studios as potential risk factors.
All conventional acid-resistant grounds have safer acrylic
alternatives. Among the acrylic resists there are products
and processes to match any conventional technique and
quality, such as hard ground, soft ground, aquatint,
photogravure, etc. Furthermore, the new techniques and
materials have given rise to several possibilities that have
not even been named yet, as they simply did not exist
within the realm of the oil-based grounds. In consequence
of their strength and durability, many of the acrylic resists
can also be used for relief printing, either alone or in
combination with etching techniques. Concurrently, the
use of photopolymer film for circuit boards in the electronic
industry has made it feasible to integrate photography
and digital images in traditional modes of graphic
expression.
It should therefore be underlined from the beginning how
erroneous it would be to regard the new acrylic-based
techniques merely as substitutes for the old ,,toxic"
methods and materials. What we are dealing with is an
epoch-making discovery, which not only holds the solution
to the serious consequences to health and environment
implied by conventional processes, but which also creates
a whole new set of possibilities thus far virtually unknown
to intaglio printmaking.
Toxicity in Traditional Etching
It is a well-established fact that conventional materials
for intaglio printmaking contain quite a cocktail of acids
and chemicals, the danger of which is unmatched in the
creative arts. Each of them may have damaging effects
9
on the health of the artists and on the surrounding
environment, but in combination they pose a very serious
threat to anyone who uses them with some frequency.
The conventional materials are mainly oil-based, and most
of the resists have arisen from the petrochemical industry.
That applies to e.g. asphaltum varnishes, shellac,
mixtures of tar and wax, resins and the like. Several of
these products have been found to provoke cancer, and
also to contain organic solvents constantly generating
toxic fumes that rapidly permeate the indoor climate of
the studio. Brief exposure to these solvents cause
headache and nausea, while frequent use over an
extended period of time typically cause damages to the
liver, kidneys, or nervous system. But organic solvents
are not only a part of the contents of oil-based varnishes;
they are often in constant use in conventional printmaking
studios for cleaning plates and tools. In consequence of
their volatile nature they are easily absorbed into our blood
via inhalation and skin contact. The safety regulations
pertaining to the use of these chemicals in the industry
are, not unreasonably, among the very strictest. The use
10
of nitric acid, which is typical of printmaking studios, is
not only unnecessary; it is positively deadly. In the industry,
nitric acid is restricted to be used only in hermetically
sealed boxes with welded-on rubber gloves; the same
kind that is necessary in connection with radioactive
substances. The generation of toxic fumes during the
etching process may cause impotence, sterility, and foetal
damage. The use of Dutch mordants, plate smoking etc.
likewise poses serious health threats.
The method of using hot plates to heat the conventional
etching inks (which contain solvents) constitutes another
unnecessary source of exposure to the toxic fumes and
of their transmission to the general indoor climate.
The Chemistry of Acrylics
All acrylic resists consist of acrylic and polymer
substances in a more or less liquid form and contain water
as solvent. They acquire the qualities that make them
suitable for intaglio during the drying and hardening
process:The separate polymer particles, which constitute
the watery emulsion while the resists are fluid, begin to
 bind as the water evaporates. Eventually they will be acquired. In many cases they are manufactured for
bound solidly together in a long, single polymer chain, completely different purposes, e.g. domestic use.
thus creating a very tough substance which is durable as Consequently, they are often much cheaper than the
well as completely acid resistant. Acrylics that have been products conventionally employed by printmakers.
brushed, poured or sprayed onto a clean plate bind so
tightly to the surface of the plate that the ferric chloride Our website contains updated Safety Data Sheets for all
will not be able to work its way under the metal along the the products used.
, eroded edges. If necessary, the acrylic coating may
remain on the plate during the printing process. As long
as acrylics are fluid, they can easily be cleansed off
brushes and surfaces with soapy water, but they become
waterproof when fully hardened. Dry acrylic remnants can
be removed in a solution of washing soda and water.

Many acrylics dry very quickly, but the drying and

hardening period can be further shortened with the use
of a drying cabinet. This method also adds to the
durability. When one needs to clean a plate, it is placed in
a photo tray containing washing soda and water.

The etching grounds are easy to prepare for their intended

purpose, and the necessary ingredients are easily

11
The acrylic etching grounds - here are all the materials you need.
PLATE PREPARATION
General Remarks
Whether one uses copper, zinc, steel, or other plates for
etching, the plate must be carefully de-greased before
applying the etching ground. Many countries have a long-
standing tradition of etching in zinc. This might cause
surprise, as zinc, compared to copper, is soft and an
inferior metal for intaglio printing. Consequently, these
etchings do not appear as clean and precise as they
would in copper.
The assumption of this book, however, is that nothing
but hard 0.5mm/0.2 inch copper or thicker is used. Zinc
plates are somewhat soft and must therefore necessarily
be as thick as 0.8 mm or more for etchings. That does
not apply to copper, which is a harder metal, rendering
0.5 mm plates fully sufficient. 0.5 mm copper is normally
cheaper than 0.8 mm zink. As it is nevertheless a well-
known fact that some printmakers prefer zinc for aesthetic
reasons, the working methods pertaining to zinc plates
will be dealt with wherever they might differ from those
regarding copper. In all other cases, the working process
is the same whether zinc or copper is used.
Sanding and Polishing
Before applying the etching ground or laminating the
photopolymer film onto the plate, any scratches in the
plate must be removed. The plate is sanded down with
sand paper P1200 Wetordry. I recommend giving the plate
a thin spray of water from an atomizer before sanding, so
as to avoid metal dust in the room. Working gloves are
recommendable, protecting your skin from tiny intruding
metal splinters. Further polishing may be carried out with
chalk powder and water using a polish-sponge.
De-Greasing
Finally, the plate must be de-greased. The most important
difference between preparing plates for conventional oil-
based etching grounds and preparing those for acrylic-
based grounds is that the acrylic resists require a
completely de-greased printing plate if they are to adhere
- otherwise there is a risk that the etching grounds will
break up during the etching process.
Needless to say, one must not touch the plate with one's
fingers. Clean the copper plate thoroughly with scouring
13
cream. Then rinse and wash the plate with a sponge and
some de-greaser. Wear rubber gloves in order to ~void
leaving greasy marks on the plate.

After the final rinse, dab off the water with an old
newspaper and a dry dishtowel. Finally leave the plate in
the drying cabinet for a few minutes (seep. 80).

Now the plate is ready for the application of the etching

ground or photopolymer film. Remember to use rubber
gloves throughout the de-greasing process to avoid
touching the de-greased plate with your bare hands.
Fingerprints may cause the etching ground not to stick
or the photopolymer film to loosen after it has been
laminated.

Polishing and degreasing of the copper plate .

Summary

Remove any scratches in the copper plate with fine

sandpaper or steel wool.
2 Rinse the plate in running water.
3 Clean and polish the plate thoroughly with chalk
powder and water using a polish-sponge.
4 Rinse the plate in running water.
5 Clean the plate thoroughly with scouring cream and
rinse the plate in running water.
6 Wash the plate with a clean sponge and de-greaser.
7 Rinse the plate in running water.
8 Dab off the water with an old newspaper. Drying cabinet (see D.I. Y.
9 Dry the plate in the drying cabinet (see p. 80). instructions p. 80)

PS. Acrylic resists and photopolymer film require a

completely de-greased copper plate if they are to
adhere to the plate.
Materials
Steel wool and/or sandpaper P1200 WetorDry
Chalk powder (Alternative : Magnesium Carbonate)
Sponge Scotch-Brite
Scouring Cream
CPS de-greaser cone. - mix with water 1: 12 (Alternative: Dawn
dish detergent - only in the USA. Or vinegar and water.)

14
ACRYLIC
RESISTS
LIQUID HARD GROUND

pour on a liberal amount of the hard ground in one go.

Distribute it quickly, before it has time to harden , and
immediately afterwards place it in vertical position on a
newspaper to let the excess polish run off. The hard
ground that has run into the photo tray may be poured
back into the bottle. Move the plate a few times on the
newspaper to prevent the hard ground from building up
along the lower edge. A thin, even coat of hard ground is
essential , as it will otherwise break up when etched . After
a few minutes on the newspaper, the plate is ready to be
hardened in the drying cabinet (see page 80) . After 1O
minutes of hardening , the surface is ready to be worked.

Do not shake the bottle before applying the hard ground

due to the risk of creating bubbles in the liquid!

On a copper plate , the hard ground will now be ready for

use . A zinc plate will require another thin coat of floor
polish as described above with a drying period of five to
General Remarks ten minutes, after which process the plate will be ready.
As hard ground we use an acrylic floor polish. The liquid After pouring the excess polish back into the bottle, clean
hard ground is extremely strong , and the plate can be the tray in water .
wiped and printed while the hard ground is still on. You
can work in the acrylic hard ground in exactly the same
way as in the conventional hard ground . But you also
have the option of doing washings in the hard ground
I
with a mild solution of ammonia and water. It also complies
with another decisive requirement for hard grounds, which
is the option of making several etchings and overlapping
cross-hatchings without having them ruined in the
intersecting lines. This hard ground dries very quickly and
will preserve the particular imprint of the employed drawing
utensils , which may range from those leaving only the
thinnest lines to the ones biting deeply into the surface .

Applying the Hard Ground

Prepare and de-grease the copper plate and pour the liquid
hard ground directly onto it, holding it above a photo tray.
When holding the copper plate, one's fingers must remain
The hard ground is poured onto the plate in one go, and
under it (the way a waiter carries a tray) - and remember immediately afterwards it must be placed in vertical position
to use rubber gloves. Hold the plate above the tray and on a newspaper to let the excess polish run off.

16
Hard ground line drawing printed with the hard ground on (left) and
the same plate printed without the hard ground (right) - the only
difference is in the plate tone. Artwork: Mikael Larsen.
Not even the finest cross-hatchings will break up during the etching
process (right). Artwork: Terje Risberg.
Transparent vs. Black Hard Ground
The liquid hard ground in itself forms a completely clear
(transparent) surface, but if you prefer a black surface , it
can also be made completely black like the old-fashioned
smoked plate by painting or spraying it with diluted black
gouache. Before etching , remove the ink layer with a
soft sponge with lukewarm water and detergent in order
not to spoil the ferric chloride. The black surface enables
the artist to see his or her drawings clearly. However, the
advantage to transparent hard ground is that it can easily
be applied to already etched surfaces with a view to
adding more lines or hatchings. The already etched lines
or areas are thus visible underneath during the process
of drawing, hatching or otherwise working on the plate.
Working in the Hard Ground
You can work in the acrylic-based hard ground in exactly
the same way as in a conventional hard ground. It does,
however, offer the option of doing washings in the hard
ground wild a mild solution of ammonia and water (Ajax
Window Cleanset') or soda and water. This technique
opens up areas of the plate like a direct lift ground of
sorts. The areas can then be etched , either as open bites
or with an addition of aquatint.
Stopping Out
If one wants to stop out an area, it can be painted over
with a coat of Acrylic Stop-Out Varnish and left in the
drying cabinet for five minutes, after which the etching
can be reassumed. If the areas in question are large or
have bold lines in them, it is recommendable to de-oxidize
the plate before stopping out (seep . 44).
Removing the Etching Ground
When the etching of the plate has been completed, the
hard ground can either be left on or removed . The
advantage of leaving it on consists partly in the possibility
of continuing to work in the hard ground, partly in the fact
that it makes the plate easier to wipe. A possible
disadvantage could be that the hard ground leaves no
plate tone on the print - the background is left completely
white . So, if a plate tone is preferred , simply remove the
hard ground in a solution of soda and water (as described
on p. 44).
17
 j · 'I : 1-;
,.I, I)
i 11 1j
. , fl f '
'..f':1 '.I,,,1

' \ J/, '•I'

\ 1.\ ., I
,.. ~

\ ,••J.

~
{ l},!.\ ''\,,..
J; ' "'. 'I '
i, f ,~ '
Si\ ·,
'

, I
I.
/
~ ·\·:
Top left: Three kinds of sand paper pressed into the etching
ground in the etching press + hatchings. Etched 20 mins in tank.
I J
I I ) •
4l :i I \,

Artwork : Gunnar Nielsen.

Top right: Line drawings etched and stopped out after 15 mins, one /\~.(I'/,
.
' 'fl ' '
hour and three hours, respectively. Artwork Gunnar Nielsen. \. .

Bottom right: Line Drawing and open bite etched 30 mins in tank. ·LL-'

18
 SUMMARY
'===--==:=.._~-- - - -- -- .L. - ~-"""')

~~ ~ -
Hold the plate above a tray and pour on a liberal
amount of hard ground in one go.
·-.,
2 Distribute it quickly, before it has time to harden, and
---- -
3
place it in vertical position on a newspaper to let the
excess polish run off.
Move the plate a few times on the newspaper to
prevent the hard ground from building up along the
lower edge.
---
...
--
·-----
- ~-:_:;;
4 After a few minutes on the newspaper, the plate is

5
ready to be hardened in the drying cabinet for
approximately 10 minutes.
If you are applying the hard ground to an already
etched plate, you must now repeat the above four
stages. If it has not been etched beforehand, you are
---
ready to work in the plate.

+ Optional points

6 If you prefer a black surface, paint it over with diluted

black gouache or spray it on with an airbrush. For
brushing dilute 1 part gouache with 1 part
demineralised water. For spraying dilute with 2-3 parts
water.
7 The gouache dries in a couple of minutes in the drying
cabinet.
8 The black coat should be removed with lukewarm
water and detergent before etching so that it will not C
ruin the ferric chloride.

Liquid hard ground etched for 3 hours. Stripped, applied aquatint and
painted with a mixture of Edinburgh Etch and wallpaper glue (spit
bite). Compare the lines in this hard ground with the roll-on hard
ground on page 20 - the needle used is the same and etching time
is the same. Artwork : Peter Martensen .

MPterials
Hard ground : Johnson Klear Polish (Alternative: Future Floor
Polish in the USA or Z-Acryl Hardground)
Washing : Ammonia and water (Ajax Window Cleanser) or soda
and water
Black Colour : Black Gouache + water
Stop Out: Golden Acrylic Stop Out Varnish

19
ROLL-ON SOFT GROUND AND HARD GROUND
General Remarks
When making soft ground etchings, the technique is to
give the plate a surface which is sufficiently
impressionable to render in the intaglio even the finest
imprints of the objects pressed against the plate. As is
the case with the traditional wax-based soft ground, one
can make drawings in the acrylic-based soft ground (e.g.
using a soft pencil on a piece of newspaper or a ball-
point pen on sandwich paper, resting one's wrist on a
block of wood) . It is also possible to transfer patterns
and textures from various objects to the soft ground.
The acrylic-based etching ground system offers a unique
possibility of combining soft and hard grounds.The etching
ground consists of water based ink for block prints mixed
with an acrylic binder.
Applying the Etching Ground
Prepare and de-grease the plate. Mix the binder and the
ink thoroughly on a glass plate. The amount of binder
mixed into the ink determines the time required for
hardening and drying. For fast-drying soft and hard
20
'I
I
~
\
- ---..
~
- -.....
grounds the mixture contains 1/3 binder and 2/3 ink, which
will harden after approximately 20 minutes in the drying
cabinet. Without the binder, the etching ground takes five
hours to harden. The result after mixing must be a thick,
even substance which does not curdle.
Now roll the etching ground evenly onto the glass plate
by means of a roller; first as a relatively thick layer, which
is used as a reservoir , then as a thin, dry layer. From the
glass plate roll the etching ground onto the copper plate
from all sides and in thin coats. A glimpse of copper should
be visible through the translucent surface.
The plate can now be used as a soft ground, or it can be
hardened to a hard ground.The ink roller must be cleaned
immediately after use with a soft sponge and lukewarm
water with dishwashing detergent.
Sketch for the artwork on page 19 - here rolled-on hardground
etched for 3 hours. Compare the lines in this hardground with those
of the liquid hard ground on page 19. Artwork: Peter Martensen.

Left:The etching ground is rolled onto the copper plate from all sides
and in thin coats. Right: Soft ground impression etched one hour.
Roll-On Soft Ground
If you want a soft ground , leave the plate with the wet
ground in room temperature for 1O to 15 minutes just
enough to dry its surface a little. It will then be suitable
for draw-through soft ground or soft ground impressions.
Soft Ground Drawings
Soft ground drawings can be made on a sheet of soft
paper which absorbs the ink. You can also paint directly
into the soft ground with demineralised water , or you can
use various drawing requisites directly in the soft ground.
The soft ground starts drying after approximately one
hour - if you need more time for your artwork , use less or
no binder. Without binder you can work four hours in the
soft ground in this ,,draw-through" technique . After
finishing :
• if binder is added leave the plate for 20 minutes in
the drying cabinet and it becomes a hard ground ,
which can either be worked further or etched right
away.
,,.
• if no binder is used leave the plate to air-dry overnight
and it becomes a hard ground which can either be
worked further or etched right away.
Soft Ground Impressions
Of course, you can press various objects and structures
into the soft ground. The newly rolled-on soft ground must
be left in room temperature for 10 to 15 minutes before
the surface is ready to receive these imprints.
When the objects are in place on top of the soft ground
and the plate has been placed on the etching press bed,
take a piece of thin plastic foil , e.g. the inside protection
foil or mylar that we take off the photopolymer film when
laminating the film onto the plate , and coat the foil evenly
with salad oil. Then place it (oily side down) on the plate
and the objects. Because oil repels water, the plastic foil
will not stick to the soft ground. Finally cover the whole
thing with a piece of thin pasteboard without structure in
order to avoid the litte holes made by the felt on the etching
press in the final print.
21

The pressure on the press must be reduced in proportion
with the height of the objects on the plate. Run the plate
through the press. Remove the pasteboard first , then
carefully pull off the plastic. If the ink sticks to the foil , it
is because there is not enough oil on it.
Finally remove the objects gently and harden the plate
for 20 minutes in the drying cabinet. The soft ground now
becomes a hard ground , which can either be worked
further with various drawing tools or etched right away.
The ground is strong enough to be etched to any depth.
Roll-On Hard Ground
After 20 minutes of hardening , the roll-on soft ground
becomes a hard ground. Because of the hardening , the
plate can now be removed from the etching tray or tank,
rinsed in water, inspected , stopped out and etched some
more. When the hard ground has dried up, it is soluble in
a mild solution of ammonia and water or soda and water.
This solution can be used locally for washings carried
out with a cotton bud or a brush. The amount of binder
determines the time it takes for the soft ground to dry.
22
Other Options - Washings
It is feasible to dissolve the unhardened soft ground relief
ink with demineralised water and paint it onto the copper
plate, as if it were watercolour. In this way, washing will
be endowed with the same possibilities as lithography.
The solution can also be rolled on and diluted locally with
a brush or cotton bud. The painted motif must then be left
to dry (harden) completely before the plate is etched .
This technique is also combinable with soft and hard
ground as described above. For instance, try dissolving
the rolled-on soft ground by painting it with water in local
areas of the plate while treating other areas as soft ground,
perhaps adding lines with hard ground tools after the
hardening.
It is also conceivable to spray local open areas with
aquatint to make a stronger contrast to the areas that
have not been etched. One's imagination is the only limit.
Just bear in mind that where the ink is opaque, it serves
as stop-out and thus produces white areas in the print.
(See also Washings as Acrylic Resists, p. 34).
Stopping Out
If one wants to stop out an area, it can be painted over
with a coat of Acrylic Stop-Out Varnish and left in the
drying cabinet for five minutes , after which the etching
can be reassumed. If the areas in question are large or
have bold lines in them, it is recommendable to de-oxidize
the plate before stopping out (seep . 34).
Removing the Etching Grounds - Cleaning Tools
To remove the soft ground from the plate, use ordinary
dish detergent, cold water and a kitchen sponge if no
binder has been used. If the soft ground has been left on
the plate for several days or was mixed with acrylic binder,
the easiest way to remove it is with the usual solution of
soda crystals (see p. 44). Wash off rollers, glass plates
and tools in lukewarm water and, if necessary, detergent.
Do not use hot water - that makes the relief ink stick.
Top left: Hard ground drawing etched 40 minutes.
Artwork : Poul Janus Ipsen.
Opporsite: Softground washing etched 3 hours. Artwork : Henrik Broegh.
SUMMARY
Roll-On Soft Ground
1 Mix 2 parts ink with 1 part binder on a glass plate.
2 Roll the etching ground evenly onto the glass plate; first
as a relatively thick layer, which is used as a reservoir,
then as a thin dry layer. From this dry layer roll the etching
ground onto the copper plate from all sides and in thin
coats. A glimpse of copper must be visible through the
translucent ground .
3 Leave the plate with the wet ground in room temperature
for 10 to 15 minutes - just enough to dry its surface a
little. It will then be suitable for soft ground etchings.
Draw-Through Soft Ground
Soft ground drawings can be made on a sheet of soft
paper which absorbs the ink. In this case you leave the
plate in room temperature 5-10 minutes before starting.
2 You can also paint directly into the soft ground with
demineralised water, or you can use various drawing
requisites directly in the soft ground.
3 After 20 minutes in the drying cabinet it becomes a hard
ground, which can either be worked further or etched
right away.
PS. If your artwork takes a long time to do, it is advisable
to use less or no binder in the ink. Without binder you
have four hours to work in the soft ground before it
hardens . The etching ground must be totally dry before
you start etching.
Soft Ground Impressions
Place the plate on a piece of paper on the etching press
bed. Place the objects on top of the plate.
2 Coat a piece of soft plastic foil evenly with salad oil and
place it (oily side down) on top of the plate and the
objects. Finally cover the whole thing with a piece of
thin pasteboard without structure.
3 Run the plate through the press.
4 Remove the pasteboard first, then carefully pull off the
plastic. If the foil sticks to the ink, it is because there is
not enough oil on it.
6 Finally remove the objects gently.
7 Harden the plate for 20 minutes. The soft ground now
becomes a hard ground which can either be worked
further as such or etched right away.
Roll-On Hard Ground
1 Mix 1 part binder with 2 parts ink on a glass plate.
2 Roll the etching ground evenly onto the glass plate; fist
as a relatively thick layer, which is used as a reservoir,
then as a thin dry layer. From the glass plate roll the
etching ground onto the copper plate from all sides and
in thin coats. A glimpse of copper must be visible
through the translucent ground.
3 The etching ground can now be hardened for 20 minutes
in the drying cabinet and used as a hard ground.

PS. The amount of binder that is mixed into the ink

determines the time required for hardening and drying.

Materials
Water-basedink Graphic Chemical Water Based Ink Crimson Red No. 1661
Binder : Lascaux Transparentlack No. 2060
Stop-Out: Golden Acrylic Stop-Out Varnish
Mild ·-solution of ammonia and water : Ajax Window Cleanser

23
SPRAYED AQUATINT
General Remarks
As aquatint we use an acrylic resist , diluted one to one
with demineralised water before it is sprayed onto the
copper plate . When dealing with acrylic grounds , it is of
general importance to observe correct proportions and
mix the ingredients well. The aquatint is instantly ready
for use .
For the application of the aquatint , we need an airbrush
and a compressor. Although the product is non-toxic , it
cannot be healthy to breathe in the tiny ink particles that
spray from the airbrush . It is therefore recommendable to
wear a dust mask and install a cooking canopy or some
other form of exhaust system in the aquatint cabinet (see
p. 81 ).
One applies the aquatint to the plate by spraying it on
with an airbrush. This tool makes for a wide range of
possibilities for creating different grey tones in one etching .
The dotted structure may of course be applied to the
copper plate in a uniform surface as is known from
traditional aquatint , but the airbrush provides many other
24
workable ways of applying the aquatint: as lines , areas
with different density , clouds , splatters , layers of gradually
increasing thickness , etc . In short , the airbrush works by
air pressure and functions like a spray gun .
Applying the Aquatint
Run some water though the airbrush to make sure that it
is clean before screwing on the jar containing the aquatint.
An airbrush must always be very thoroughly cleansed ,
as it will otherwise easily clog up . Rinse it with clean
water after use . If it does clog up , make a mild solution of
soda and water and run that through . When the clogging
is dissolved , run some clean water through it again before
use.
Place the copper plate almost vertically against a piece
of white paper . Fill the glass container under the airbrush
with the aquatint ground . The density of the aquatint grains
is determined by the amount of air that is admitted into
the etching ground . Adjustments are made partly by
loosening or tightening the valve of the spray gun , partly
by changing the distance between the gun and the plate .
It may be difficult to see the grains on the copper plate ,
which is why it is important to place it against a white
background sheet , which will show the position and quality
of the aquatint grains.
You achieve the finest aquatint by adjusting the airbrush
to admit the highest possible amount of air in proportion
to the etching ground. As in all other aspects of life ,
practice makes perfect ; therefore the training on paper or
cardboard is very useful. I recommend starting with the
exercises described in the instructions on how to use the
airbrush . If you want a coarser aquatint , adjust the airbrush
to admit less air, and increase the distance to the plate.
This presentation distinguishes between the uniform
aquatint and the modulated aquatint.
Uniform Aquatint
The aim here is to spray a fine , misty surface onto the
plate, not to cover it completely. Hold the brush at arm's
length and spray the copper plate evenly, going beyond
the edges of the plate to avoid irregularities. Use smooth ,
even movements in parallel lines across the plate from
left to right and right to left, moving simultaneously down
towards the bottom of the plate. Try the technique on a
piece of white cardboard first for practice, until you are
able to see the aquatint forming an even, misty dotted
structure on the cardboard. Then attempt the technique
on the cleaned, de-greased copper plate, but keep a piece
of white paper behind the plate to show you what you are
doing. If you make a mistake, simply wash off the aquatint
immediately in cold water , dry the plate and try again.

When applied, dry the aquatint for 20 minutes in the drying

cabinet and etch it as you would a conventional aquatint.
It is possible to take the plate out of the ferric chloride at
any time and rinse, inspect and stop out again . Just
remember to de-oxidize the copper plates before stopping
out, as the stop-out varnish will otherwise not adhere
properly (see de-oxidizing , p. 44) .

You can create sharp outlines within the composition by

using masks and stencils made of paper or card . The
outlines may then become bases for the use of other
techniques - e .g . transferring a fragment from a
photographic image by means of photopolymer film .

Top: Aquatint Cabinet (see also p. 81 for 0.1.Y. instructions) .

Bottom-left : Hold the brush at arm 's length and spray the copper
plate evenly, going beyond the edges of the plate to avoid irregularities .

Bottom -right: Sprayed uniform aqua tint (Size 1: 1 I 100%) .

25
 I
--1
Modulated Aquatint
The technique of spraying on the modulated aquatint is
not that different from that of the uniform aquatint. The
aim is of course different - what is wanted in this case is
not an even structure, but a creative use of the airbrush
which enables the artist to produce modulated areas of
varying density - as in an airbrush painting.
The modulated aquatint is effective for creating spatial
effects in abstract composition , for emphasising the
weight of three-dimensional objects , and for many other
purposes requiring modulated tones. Compared to
conventional aquatint, which has very sharp edges made
by the stopping-outs on the plate, this method makes it
easier to achieve a gradual transition from one tone to
another.
As always , the most densely coated areas produce the
lightest tones in the final print and vice versa. The
experienced ,aquatint sprayer' thus does not need to etch,
stop out, etch , stop out , etch etc. , but you can of course
spray the aquatint on evenly as described above, and
26
use the stop-out in the traditional way if you feel more
comfortable with that. Remember to de-oxidize before
every coat of stop-out (p. 44) .
Any area of the plate that has not been sprayed will
naturally etch as an open bite. If you wish to avoid this ,
begin by spraying a thin coat onto the whole plate before
commencing the actual composition.
Other Options
The aquatint-sprayed copper plate may form the basis of
the most beautiful washings - they are the intaglio version
of watercolour painting . The effect can be achieved in
many different ways:
• Brush and dilute the freshly sprayed and still wet
aquatint ground in smaller areas or all over the plate
with demineralised water . Dry it in the drying cabinet
and etch it - the results are stunning!
• Spray a very fine aquatint onto the plate . When it is
dry, place it in a photo tray and paint local areas with

Edinburgh Etch. (Stirring it into wallpaper glue will
revent it from running.) This method corresponds to
a spit bite in the system of conventional oil-based
etching grounds. The longer the ferric chloride (see
illustration page 19) remains on the plate , the darker
the etched tone will become. You can avoid sharp
edges completely by painting around the etched
areas with water. The depth of the bite is controllable
at any time : rinse in water , inspect , and brush on the
ferric chloride again if necessary .
Paint or dab the dry etching ground with a brush or
cotton bud and a mild solution of ammonia and water
or ammonia-based window polish (ammonia dissolves
the hardened etching ground) .
If you do not de-oxidize the plate after each etching before
applying a new etching ground or stop-out, the ferric oxide
generated on the surface of the plate will cause the
etching ground or stop-out to loosen and break up during
the following etching process (see p. 44).
Stopping Out
De-oxidize the plate, paint on a thin coat of Acrylic Stop-
Out Varnish and dry the plate in a drying cabinet for 5
minutes (see also p. 80 ff).
Removing the Aquatint and Stop-Out
As all other acrylic-based etching grounds, the aquatint
ground is removable in a solution of soda crystals and
water. If time is of the essence, put the plate in a caustic
soda solution (seep . 44).
Opposite left: This aquatint has been etched and stopped out by
turns like a traditional aquatint .
Opposite right: This plate has had an even layer of aquatint first, then
another layer on the lower right section, and finally a washing with a
mild solution of ammonia and water in the wet aquatint .
Top left: Aquatint sprayed on in several layers with the use of masks .
Top' right: Aquatint detail sprayed and stopped out by turns.
27
 SUMMARY

Mix the aquatint with 50% demineralised water in the

airbrush container.
2 Run some water though the airbrush to make sure
that it is clean before screwing on the container with
the aquatint. An airbrush must always be very
thoroughly cleansed, as it will otherwise easily clog
up. Rinse it with clean water after use. If it does clog
up, make a mild solution of soda and water and run
that through.
3 Place the de-greased copper plate vertically in the
aquatint cabinet against a sheet of white paper.
4 Hold the brush at arm's length and spray the copper
plate evenly, going beyond the edges of the plate to
avoid irregularities.
5 Harden the aquatint for 20 minutes in the drying
cabinet before etching or stopping out.

PS. It may be difficult to see the grains on the copper

plate, which is why it is important to place it against a
white background sheet, which will show the position
and quality of the aquatint grains.

Top: Aquatint combined with soft ground washings.

Opposite: Aquatint sprayed and stopped out with stop-out varnish,

oil and water by turns. Artist : Bent Holstein.

Materials
Spray-On Aquatint: Badger Acrylic Aquatint concentrated +
Demineralised water
Stop-Out: Golden Acrylic Stop-Out Varnish
Wallpaper glue mixed with Edinburgh Etch
Mild solution of ammonia and water : Ajax Window Cleanser

28
Lift ground painted with etching ink mixed with olive oil, then sprayed with Badger Acrylic
Aquatint and etched for three minutes in the Edinburgh Etch, given a coat of Golden
Acrylic Stop-Out and worked as a hard ground . Etched for another twelve minutes .
Worked in with a dry point needle after the removal of the etching grounds. Finally, as
collograph medium, Artes Libera/es poster colour was applied. Artwork : Terje Resell
...
LIFT GROUNDS
General Remarks
This chapter presents two very different lift ground
techniques . The first method builds on the fact that oil
repels water . It corresponds to the conventional sugar lift
techniques . The second method requires that the studio
is equipped with an exposure unit for photopolymer film.
The latter is faster and for some artworks more exact.
Lift Ground Using Oil and Water
The fact that oil repels water gives us many sources for
fat or oilbased lift ground media . You can use butter,
lipstick, Vaseline , wax crayons, etc. In the Printmakers '
Experimentarium , however, we have developed our own
lift ground , which serves for all types of subjects : mix a
tiny bit of etching ink with olive oil to the desired
consistency. You can paint it on with a brush or write with
it by means of a pen directly on the de-greased copper
plate . It is important to use olive oil , as this product
enables the lift ground to congeal if you put it in the
refrigerator for a few minutes.This prevents it from running
later in the working process.
To the plate with the lift ground you must now apply a
hard ground . For that purpose you mix an acrylic binder
with demineralised water and add a colour pigment so
that you can see what you are doing . Once the plate has
hardened and the ground been lifted, you can work the
surface as a hard ground with various drawing tools.
Put the plate with the lift media in the refrigerator to
congeal. After a few minutes , remove the plate with the
congealed lift ground from the refrigerator and place it
horizontally in the aquatint cabinet. Spray on a thin coat
of hard ground from all four sides. Then harden the hard
ground in the drying cabinet for approximately 20 minutes.
Now lift the painted areas under the hard ground in
lukewarm water using a brush. Remove the etching ink
in the lifted areas first by means of salad oil on a soft
piece of cloth. Finally de-grease the plate with scouring
cream or magnesium carbonate and de-greaser. Rinse it
as usual and dab off in a newspaper before drying it for a
few minutes in the drying cabinet.
When the plate is dry, spray it with an even coat of aquatint
and harden it for 20 minutes before etching and stopping
out as during the usual etching process .
Removing the Etching Ground
When the etching is complete, remove the aquatint ground
and the hard ground in soda crystals and water (p. 44) .
The plate is now ready for further processing with other
media , or for wiping and printing.
SUMMARY
Mix some etching ink with olive oil to the desired
consistency.
2 Paint it on with a brush or write with it with a pen
directly on the copper plate.
3 If the medium is fluid, let it congeal in the refrigerator
for a few minutes.
4 Place the plate horizontally in the aquatint cabinet and
spray it from all sides with a spray-on hard ground.•
5 The plate must be hardened for approx. 20 minutes in
the drying cabinet.
6 Place the plate in a tray with lukewarm water and lift
the hard ground using a brush.
7 Remove the etching ink in the lifted areas by means of
salad oil.
8 De-grease the plate with scouring cream and CPS de-
greaser .
9 Rinse in running water, dab the plate in a newspaper
and dry it.
10 Spray on hardground and harden it for 20 minutes
before etching the plate.
Spray-on hard ground for lift ground
Mix 1 part Lascaux Transparentlack No. 2060with 2 parts
of demineralised water and add colour pigment.
Materials
Lift medium: Etching ink+ olive oil
Spray-on hard ground: as above same as the binder for soft ground
Colour pigment .,Kremers Farbteig Heliogen " or other
Scouring cream
CPS de-greaser
31
Reversed Lift Ground
Several lift ground media can also be used reversedly ;
directly on the plate . If, for instance , one uses a wax
crayon or a lipstick to draw directly on the plate without
applying the liquid hardground as for the lift ground , one
can move straight to the application of the aquatint and
the subsequent etching , after which the plate must be
stripped , rinsed and de-greased with a bit scouring cream ,
water and a sponge (see p. 44) . After this , the plate is
ready to be wiped and printed .
Lift Ground Using Photopolymer Film
Laminate a de-greased copper plate as explained on page
50. Paint with some kind of lightproof medium on the top
layer of the photopolymer film or on a piece of drawing
foil in the areas you want to lift. ,,Schminke Abdeckrot " is
completely lightproof and perfect for the purpose.
You can also cut or tear out stencils or masks from
aluminium foil and place them on top of the photopolymer
film . Now expose the plate under ultraviolet light for 5
minutes with the lift medium on top . Remove the lift media
32
and the top foil. Develop the plate for five minutes to be
sure that the film is opened to the copper as described
on page 51. Dry the plate and spray a fine layer of aquatint
over the entire plate. Let the aquatint harden for 20 minutes
and etch with the photopolymer film as etching resist to
the desired grey tone.
It is of course also possible to laminate the photopolymer
film on an already etched plate , lift certain areas , apply
aquatint and etch the lifted areas . In this case it is
extremely important to de-oxidize and de-grease the plate
thoroughly before applying the film.
Removing the Photopolymer Film and Aquatint
When the etching is complete , remove the aquatint ground
and photopolymer film in soda crystals and water (p. 44) .
The plate is now ready for further processing with other
media , or for inking up and printing .
..

...

aterials Lift ground using photopolymer film and aquatint. Artist: Nils Erik Gjerdevik
Drawing foil or lightproof masks
Schminke Abdeckrot or other medium
Photopolymer Film
Badger Acrylic Aquatint
WASHINGS AS ACRYLIC RESISTS
General Remarks
This chapter presents two different washing media
(techniques) for making direct washes on the copper plate.
The first method is fast and makes use of the previously
mentioned soft ground techniques and media developed
together with the acrylic resist etching system. The
second, known under the name ,,White Ground" , was
invented back in the 1960s by Frank Cassara . It is quite
an interesting slow working method that fits perfectly into
the realm of non-toxic intaglio techniques presented is
this book.
Soft Ground Washings
The water-based ink, which we used for rolled-on soft
and hard grounds , also comes in a black version . It is
coarser and contains more pigment. If you paint it directly
onto a glass plate with demineralised water, the pigment
grains are clearly visible floating around in the water.
34
Applying the Wash Media
The ink may be transferred directly to the de-greased
plate by means of a brush or an ink roller or mixed with
about six parts water in a bowl and painted on . While the
plate dries (use an electric hair dryer), the water evaporates
and the pigment remains. When the washing has dried
completely , one can stop out selected areas . It is
interesting to note that the ground will slowly break down
after two to three hours of etching . This happens because
it does not contain an acrylic binder . Acrylic studio paints
which are this rich in pigment may also be ideal for
washings.
If the process described above is carried out on a copper
plate which is subsequently placed in the drying cabinet,
the pigment will remain on the plate. Etchings of short
duration produce a ,,spit bite"-like effect. During long
etchings, the pigment will gradually dissolve.This happens
very slowly, and it is therefore possible to control the
process . The depth of the bite depends on the amount of
~

washing with different media diluted with

demineralised water. At the top, the plate
had heavy applications , and at the bottom
very diluted applications of the different
media.

Left: Graphic Chem. Black No 1659.

Center: Hunt Speedba/1 Screenfiller.
Right: Badger Acrylic Aquatint .

SUMMARY

water added to the acrylic. The thinnest coat makes the
deepest etching and vice versa. The result is an etching
which , in the final print, will present a multitude of tones,
but without the dotted structure of the aquatint. This
etching resist works perfectly on the entire plate when
rolled on and painted with demineralised water or brushed
onto lifted areas of the plate (see lift grounds pp. 31ft).
The ink has to be completely dry before etching . When it
has been etched, do not rinse under running water - the
water might lift the soft ground off the plate since it
contains no binder. For inspection during the etching, put
the plate in a tray with water and move it gently just
enough to remove the remains of ferric chloride and allow
you to evaluate if it needs more etching .
Paint the ink directly onto a glass plate with
demineralised water, or mix it with 6 parts demineralised
water in a bowl.
2 The diluted ink may be transferred directly to the de-
greased plate by means of a brush or a cotton bud.
3 The ink can be rolled on like a roll-on hard ground, and
washes can be done directly with a brush in the wet
rolled-on ink.
4 Before etching, the etching ground must be hardened
in the drying cabinet until it is completely dry. The drying
time depends on the thickness of the etching ground.

Removing the Wash Media

Material
The ink can be removed in lukewarm water with a sponge. Graphic Chemical Water Based Ink, Black No. 1659 + demineralised
If it has got hard to get rid of, dissolve it in soda crystals water
and water (seep. 44) . Alterhative : Hunt Speedba/1 Screen Filler

35
 White Ground details. Textures have been applied to both plates . Left: The cross has been built up with more
layers of white ground. Right: The cross has been painted with water directly in the thin white ground.
White Ground
General Remarks
White ground is a mixture of white pigment , soap flakes
and linseed oil. After mixing the white ground it is painted
directly onto the de-greased plate . It is a semi-permeable
ground that breaks down during etching where it is applied
as a thin layer and totally resists biting when applied
thickly . Therefore , a range of tones from white through
greys to black is possible .
Preparing the White Ground
Use a large mortar and a pestle . Mix 1 cup of dry titanium
white powder with 2 cups of blended soap flakes (or
powder) in the mortar. Make a mound of the mixture with
a little depression in the centre and slowly add 112 cup of
raw linseed oil while you are mixing with the pestle until
you have a thick , consistent paste . Do it thouroughly as
this is the most important part of getting a well-working
ground . Now slowly add 1 cup of demineralised water
while you are stirring the mixture until it has the
consistency of whipped cream .
36
You can keep the white ground in a sealed plastic or glass
jar for up to two months. In the meantime the mixture will
gradually loose moisture and the oil will separate a little.
In this case you just have to add a little demineralised
water and stir well to get back to the original state . Throw
the paste in the toilet after two months .
Applying the White Ground
Place a de-greased and backed copper plate on a piece
of paper bigger than the plate. Take an appropriate amount
of white ground from the jar with a pallet knife and thin
and mix it with a few drops of demineralised water on a
glass plate. The amount of water depends on the method
you are using:
• Applied in the consistency of tempera paint with a
sponge brush so that it appears milky white on the
plate . This can be worked into with a clean watery
brush , wooden sticks , textures etc . to make areas
 darker, or worked over with more white ground to
prevent biting.
• When slightly diluted with water, the white ground can
be dabbed onto the plate with a sponge or soft cotton
cloth wrapped around cotton wool to produce greys
which can be removed for blacks or added for whites.
• Drawn with soft brushes directly with diluted white
ground, building up for whites and removing for blacks
etc.
With the help of a hair dryer you will be able to cause the
water to evaporate. Try not to overheat the ground - if you
do so, the oil will harden and the ground will turn yellow -
the result is that you will have trouble manipulating the
ground any further. When the water has evaporated, the
ground is white and you can apply another thin coat on
certain areas. When the water has evaporated from these
areas, they turn grey. If you etched the plate now and
printed it, you would end up with a medium grey tone. To
create lighter tones or white areas, you must add more
white ground. Adding more coats corresponds to stopping
out areas where the ground looks opaque.
To get an idea of the final print before you etch it, you
simply place the plate in indirect light. When you are
satisfied, just let the white ground air dry over night.
When the etching ground has dried completely, spray it
with an even coat of aquatint (see pp . 25ft). Let the
aquatint harden for 20 minutes in the drying cabinet and
etch the plate in a tray with pure ferric chloride (normal
45-47 Beaume degrees). Gently put the plate in the ferric
with the image side up - do not agitate the tray. Let it etch
for 30-80 minutes.
Remove the white ground, de-oxidize and rinse with water.
While the plate is under running water, gently polish the
image area of the plate with chalk powder to bring up the
whites and subtle greys. Do it carefully so you do not
remove the delicate aquatint. Rinse, dry and print the plate.
Bits of white ground will be left in the ferric chloride after
etching . Either keep this ferric in a special container for
white ground etchings or pour it through an old stocking
or plastic strainer .
Applying White Ground to an Etched Plate
Clean, de-oxidize and de-grease the etched plate
thoroughly and back the plate with packing tape . Brush
Stop Out Varnish onto those areas that are to remain
unbitten and harden it for 5 minutes in the drying cabinet ,
or apply a lift ground to the areas you want to etch . Finally
apply the white ground and etch it as described above .
Removing the White Ground
The white ground can be removed in lukewarm water
with a sponge. Use soda and water solution if acrylics
have been used (seep. 44) .
~UMMARY
Take an appropriate amount of white ground and thin
and mix it with a few drops of demineralised water on a
glass plate.
2 The white ground can be applied to the plate by using
sponge brushes, soft brushes or dabbed with a cotton
ball. It can be worked into with a clean watery brush,
wooden sticks, textures etc. to make areas darker, or
worked over with more white ground to prevent biting.
3 Before etching the white ground, it must be air dried
over night. The drying time depends on the thickness of
the etching ground.
4 When completely dry, spray on an even layer of aquatint
and let it harden 20 minutes in the drying cabinet.
5 Etch the plate (face up) horisontally in a tray in pure
ferric chloride .
6 Remove the etchings grounds, ink up and print.
M:1te1i, I
1 cup powdered titanium white
2 cups Ivory Snow powdered detergent
Alternative : Soap flakes blended to powder.
Y2cup raw linseed oil
1 cup demineralised water
37
COLLOGRAPH TECHNIQUES

Detail from already etched plate r eworked with collograph paint .

Artwork : Gunnar Nielsen .
With some studio paints, which are very rich in pigment,
it is possible to paint directly on the plate (even on a
plate that has already been etched) and then dry the
acrylic paint in the drying cabinet. As it dries, the acrylic
will harden on the plate and become incredibly durable.

The plate is now ready for wiping and printing . Where the
coat of paint is thick , the print will be light; where it is
thin , the print will be dark . The painted areas of the plate
will produce a relief print in the paper. This makes it
possible to obtain many interesting effects by combining
the techniques of intaglio and relief printing (wiping and
rolling, respectively) in the application of etching inks.

By painting with a thin solution (mix with demineralised

water) you are able to ,,close" an aquatint that prints to
black, and if you mix the paint with carborundum powder,
you may create an aquatint-like effect.

The paint can be removed in a strong solution of soda

Materials
crystals and water (see page 44) . Artes Libera/es Colour-Kit
(Alternative : Hunt Speedba/1Sere e n Filler'}

38
 ETCHING -
BACKING AND STRIPPING
ETCHING
General Remarks
Since the days of Rembrandt, printmakers have been
using nitric acid and ,Dutch mordants' to etch in copper.
At the beginning of this century, ferric chloride was
introduced into gravure, primarily for technical reasons.
Not until the advent of stricter environment protection
rules in the electronic industry in the 1980s was nitric
acid replaced completely by ferric chloride, e.g. for etching
circuit boards. Ferric chloride is a salt. If treated correctly,
it is, as opposed to nitric acid, quite safe for health and
environment.
Despite the fact that new and very effective methods for
ferric chloride etching have been developed in the industry,
I have noted that many printmakers and schools continue
to use nitric acid, muriatic or hydrochloric acid, Dutch
mordants, etc. When asked why, they typically answer in
phrases like: ,,Ferric chloride works too slowly; it forms a
sediment which makes it impossible to follow the process;
you have to etch the plates face-down to avoid the
crystallisation which would stop the etching process; our
exhaust system is very efficient etc., etc."
40
Ultimately, those answers reflect a serious ignorance,
partly of the consequences to health and environment
that the use of such acids can have (see page 9), partly
of the alternatives. Although many printmaking studios
have stopped etching in acid, several of them are still
cutting themselves off from the benefits of using ferric
chloride, as they treat it incorrectly: They have been
informed that ferric chloride does not generate toxic fumes
and therefore does not require an exhaust. This is true
enough, provided that it is handled appropriately. It is
strongly recommendable to buy ferric chloride in liquid
form, directly from the chemical factories.
Unfortunately, printmakers quite often buy ferric chloride
crystals from the artists' supply shop and dissolve those
in water themselves, without the least consideration for
the violent generation of extremely dangerous fumes
(chlorine) that takes place when ferric chloride and water
are first brought into contact. Dissolving the crystals in
water on one's own is, quite simply, very dangerous to
one's health.
If the process is absolutely necessary, it should take
place outdoors, and safety goggles, an acid gas mask
and long rubber gloves are required safety precautions.
For etching purposes the best results will be achieved by
mixing one kilogram of ferric chloride crystals with 2.5
litres of water. As mentioned, the method is not
recommendable, and one is often left with a turbid, rusty-
looking liquid, which certainly does not look like a
trustworthy alternative to nitric acid in the etching process.
Etching in tank: Use a clip to fasten the packing
tape ,,plate hanger" to the rail as shown on the
photo. A larger number of smaller plates can
naturally be etched in one go.
Etching Copper in Ferric Chloride
The plate can be etched vertically in pure 72% Ferric
Chloride in a tank or horizontally in an open tray in ferric
chloride plus a mixture of water and citric acid powder
(the so-called Edinburgh Etch). Liquid ferric chloride is
cheap and will last through years of daily use. It can be
purchased directly from chemical factories .
Etching in Tanks
When etching in tanks , use pure ferric chloride (72% =
45-47° Beaume) in liquid form .
Use a clip to fasten the packing tape ,,plate hanger'' to
the rail as shown on the photo. A larger number of smaller
plates can naturally be etched in one go, and this is of
course an advantage in larger studios and schools, where
several people wish to use the facility at the same time.
The slip of the ,,hanger" fixed to the plates can serve as a
nametag showing whom the plate belongs to, and it can
also be used to write down the exact time when the
etching was commenced. A significant advantage of tank
etching is that the open surface is so small that practically
no evaporation takes place . However, it is naturally
advisable to put on the lid when the tank is not in use, in
which case it is also unnecessary to pour the ferric chloride
back into the bottle (until it is ,worn out').
A full tank (like the one on page 84) that contains about
35 litres will last approximately four years of frequent,
daily use. If the ferric chloride is out of use for a period of
time , it may lose its edge. You can ,whet its appetite ' by
feeding it a piece of copper a few hours before etching .
When the ferric chloride is worn out , it must be turned
over to the proper authorities for destruction . The safest
and easiest way to empty the tank is by means of an
aquarium pump.
Etching in Open Trays
For open tray etching I recommend the Edinburgh Etch.
This etching technique was invented by Friedhard
Kiekeben in Edinburgh - hence the name. Apart from ferric
chloride it contains citric acid powder.
The Edinburgh Etch performs the etching considerably
faster than pure ferric chloride in trays . That is due to the
41
addition of citric acid, which also has another important
function : the crystal residue which arises in the pure ferric
chloride during the etching process (and constantly has
to be swept away with a feather) is not formed in the
Edinburgh Etch at all - the molecules are practically
devoured by the citric acid before they have time to
crystallise . This means that no feather is needed , the
plate must be placed with the etching ground facing
upwards, and the whole etching process can be observed
through the clear amber liquid.

The ingredients for the Edinburgh Etch are:

4 litres Ferric Chloride solution 72% (45-47 Beaume

degrees)
250 ml citric acid powder (frequently used in marmalade)
750 ml water

The quantity of the etching solution should be adjusted

to the needs and the capacity of the studio in question , Etching i tray. Make a ,,plate hanger" which reaches up above the
edge of the tray.
but the proportions of the ingredients must always be the
same as described in the recipe. That is, if the quantity Disposal
of one component is reduced to 50%, the other When the solution is worn out, pour it into ajar and turn it
components must follow. over to the appropriate authorities. Remember to label
the jar, describing what it contains and mentioning that
Do not dissolve citric acid powder in ferric chloride or the solution has been used for copper etching .
cold water - it is difficult , and besides that you risk
spattering ferric chloride onto yourself . Dissolve the citric Safety
acid powder in a bit of hot water while stirring , and then No exhaust system is needed - only normal ventilation .
fill up with cold water and ferric chloride to produce the Use rubber gloves and safety goggles against spattering .
required quantity. In case of skin contact , rinse immediately with lots of
water.
When in contact with copper , ferric chloride reacts with Clean your hands thoroughly before eating , drinking or
predatorial hunger - more wants more. It might therefore smoking .
be useful to ,feed' the solution with a few scraps of copper
before the actual plate is etched. As mentioned above ,
that whets its appetite and reduces the etching time
required. To ensure a controllable bite, a freshly made
Edinburgh Etch must always be ,kick-started ' before the
first etching . That is done either by mixing a little bit of
used Edinburgh Etch into the fresh solution , or by putting
a small piece of copper into the container . This can be
done the day before .

42
..
Etching Zinc with the Bordeaux Etch
The safest way to etch zinc as regards health and
environment is to use the so-called ,,Bordeaux Etch''. That
means etching in a concentrated solution of copper
sulphate in an open tray. It is a cheap, easy and effective
way of etching zinc. Copper sulphate (CuS04) is a salt
and not an acid. When etching zinc in a copper sulphate
solution there is no production of harmful vapours, but a
very modest amount of hydrogen gas is produced. This
hydrogen is absolutely safe and must be allowed to
escape out into the room. Therefore never put the lid on
the tray while etching.
The method was developed by Cedric Green, and the name
refers to a fungicide (Bordeaux Mixture or Bouillie
Bordelaise) used by Bordeaux winegrowers against mildew.
The ingredients for the Bordeaux Etch are:
50-100 grams of copper sulphate to 1 litre of water
The stronger the solution, the faster it etches. When
starting with a fresh mixture, the colour of the solution
will be a transparent light blue. During use it will become
more and more colourless and etch more slowly. After
use cover the etching tray with a lid or pour the mixture
back into an acid-proof plastic container. When pouring it
back through a funnel into the can, you can filter off the
sediment deposited during the etching process.
Pour some lukewarm water into a mixing bowl. Carefully
take copper sulphate from its container with a plastic
spoon. Add the sulphate to the water and stir carefully for
a few minutes without spattering it about until all of the
copper sulphate has dissolved. Pour the beautiful blue
solution into an etching tray, and it is ready for use. There
must be 2 - 3 cm of the liquid over the bottom of the tray.
Use rubber gloves and protection goggles while mixing
the solution.
Etching the Zinc Plate
Back the plate as described on page 44 before etching.
Make a ,,plate hanger"which reaches up above the edge
of the tray. That will be very useful when the plate is
lowered into or pulled up out of the liquid. Lower the plate
into the bath and the bare zinc will turn black immediately.
This black sediment is finely dispersed copper. Prevent
copper build-up by feathering the plate regularly. This
ensures a continuous stream of fresh solution in lines
and open areas. Settling of sediment on the top of these
areas will retard the biting of the plate, and you may get
a copper build-up, which can be hard to get rid of without
scratching the etching ground. In that case it is a good
idea to move the plate to a fresh solution for a moment to
remove the sediment and then continue in the ,,old"
solution, remembering to feather regularly. As the solution
weakens, the colour of the newly formed sediment
changes from black to reddish brown. After etching, take
the plate out of the bath and rinse in running water.
Disposal
When the solution is worn out, pour it into a jar and leave
it for a couple of days until the copper and zinc hydroxide
have deposited as a sludge. Pour off the clear liquid and
neutralise it with sodium carbonate (washing soda) until
the pH value goes up to between 7.0 and 8.0 (test with a
strip of indicator paper) then it can go down in the drain.
The remaining zinc hydroxide/copper sludge has to be
turned over to the appropriate authorities. Remember to
label the jar; describing what it contains and that it was
used for zinc etching.
Safety
No exhaust system is needed - only normal ventilation.
Use rubber gloves and safety goggles against spattering.
Wear a dust mask when handling the copper sulphate
powder.
In case of skin contact, rinse immediately with lots of
water.
Clean your hands thoroughly before eating, drinking or
smoking.
PS. For more information see Cedric Green's web-site:
www.greenart.info/galvetch/
43
BEFORE, DURING AND AFTER ETCHING

Backing the Plate

Before etching , back the plate either with packing tape or
Filmolux stop-out foil. Use a piece of packing tape to
make a ,,plate hanger "which reaches up above the edge
of the tank or tray. That will be very useful when the plate
is lowered into or pulled up out of the liquid.

If the backing tape is hard to remove from the plate before

printing , soak it in hot water or heat up the plate in the
drying cabinet , and the tape will come off easily. Not all
packing tape is equally suitable for backing , as some
types are rather hard to get off. The best one for the
purpose is from Cartongraf(Italy), and it is sold worldwide .

De-Oxidizing
Whenever copper has been in contact with ferric chloride
it starts oxidizing. Before applying any new etching ground
or stop-out , the oxidation must be removed - if not, the
etching ground will fall off under continued etching. This
can be done easily in a tray with a mixture of vinegar
and salt. Simply place the plate in the solution and it de-
oxidizes immediately . Rinse under running water, dry the
plate in the drying cabinet and apply stop-out or an
etching ground. The plate is backed with packing tape and
supplied with a ,,plate hanger ".

The de-oxidizing solution is made by mixing 4
tablespoons of fine salt with 1 litre of vinegar (stir
thoroughly) . The solution can be kept in a bottle
until it is worn out.
Removing the Etching Grounds - Stripping
Acrylic- and water-based etching grounds as well as
photopolymer film can be removed in a mild solution of
washing soda and water. All remains from the stripping of
the plates , are to be disposed according to the
environmental regulations in your area. Soda crystals are
best dissolved in hot water . Washing soda is an alkaline
product which may irritate the skin . It is therefore
preferable to use rubber gloves while stripping the etching
grounds .
Stir 6-1O tablespoons of soda crystals into 2 lites of hot
water.
2 When the soda has dissolved completely, pour the
solution into a photo tray.
3 Place the plate in the tray with the etching ground facing
up.
4 After 5-20 minutes the ground can be washed off under
running water.
5 Finally remove the packing tape on the back and dry the
plate.
6 The stripper can be used for several plates before it is
finished .
PS. If an etching ground has been applied very thickly, it might
require a stronger solution or a longer time in the stripper . If
you are in a hurry, you can use caustic soda (only for copper) .

44
....

PHOTOPOLYMER FILM
l* AND SOLAR PLATES
~
PHOTOPOLYMER FILM AND SOLAR PLATES
General Remarks
We use photopolymer film or Solar plates (photopolymer
plates) to transfer drawings, photocopies, photographs
and computer generated stencils for intaglio prints.
Photopolymer is a relatively new medium in intaglio. Seen
from an artistic perspective, especially two forms of
photopolymer are interesting:The Photopolymer Plate (in
some places also called ,,Solar Plates") and the
Photopolymer Film. The plate is used in letterpress
printing, especially in flexography, where the toughness
of the polymer enables huge print runs to be made -
millions of copies at a time. It comes in different
thicknesses. The photopolymer film is available in
different thicknesses as well; it comes in rolls and is used
in the electronic industry for the production of circuit
boards. The film is about seven times cheaper than the
plates.
The principle behind photopolymer film is different from
that of metal-base photopolymer plates. In photopolymer
film, the printing surface consists of a thin transfer
46
emulsion. Tonalities are reproduced according to the size
of the dots that make up the image, just as in offset or
photo-etching. Photopolymer film has a rather narrow tonal
range, which limits its usefulness in producing continuous
tone images. However, the emulsion is harder than on
polymer plates, so highlights are easier to produce with
this material. Hairlines also reproduce extremely well on
photopolymer film.
The advantage of the photopolymer plates lies in the fact
that they produce extremely fine grey tones from
continuous tone positives and stochastic halftone
positives and that they can be used for almost endless
print runs because of their strength. Their exquisite
rendering of greys also makes them the preferred choice
of many photographers for photo gravures. This also
constitutes the limitation of the photopolymer plate
compared to the photopolymer film.
The film, which can be laminated onto a great number of
materials, offers a wider range of possible applications
r
than do the plates, one of the reasons being that it enables
drawings, washings and photographs to be etched directly
into a copper plate and then subjected to further processing
with all the other acrylic-based intaglio techniques.
Photopolymer film and photopolymer plates are sensitive
to most sources of UV light (usually of 320 - 450 nano-
, metres). According to the manufacturers, the technically
best result is achieved with a light sources of 365 nm
; (corresponding to the Mercury Vapour Lamp mentioned
ton page 82). In practice, it is hard to tell the difference.
..Mercury vapour lamps are cheap and they work just as
well as the professional exposure units previously used
··for offset plates in the printing houses.
What Is Photopolymer?
,Poly' means many, and ,-mer' means molecule, i.e. a
'link in a chain. The polymer, a chain with many links, is
Icreated when a number of molecules (-mers) are chained
together. A photopolymer is a material that consists of a
,large number of unbound particles. When affected by
ultraviolet light, the particles link together into chains,
''forming larger ,polymers'. This clustering takes place
wherever the polymer is exposed to ultraviolet light and
continues until there are no unbound molecules left in
the area. The polymer chains, which are hardened by
ultraviolet light, are incredibly strong. Unexposed
molecules will not connect with the chains and are washed
away when the polymer plate or the film is developed. In
this way, the ink pockets and lands that are so
characteristic of intaglio are created.
Photopolymer Film
Photopolymer film can be laminated directly onto any
plate of metal, wood, perspex, etc. After the exposure of
the positive, the developed or etched plate can be used
in combination with other types of acrylic-based intaglio
techniques (hard ground, soft ground, aquatint, etc.) On
the other hand, the film can also be applied on top of a lift
ground or and already etched plate so that for instance a
fragment of a photograph can be etched into the already
etched plate or a lifted area - the imagination is the only
limit to the possibilities.
A photopolymer film surface will last for about 50 prints,
and a new plate can be prepared in less than 10 minutes,
provided that you have made a note of the exposure time
for the original plate. The plates can be used again: soak
the laminated plate in the soda solution overnight, and
the film rinses right off the next morning. If in a hurry,
simply prepare a stronger soda solution (see p.44) and
the photopolymer film comes off after 10-20 minutes with
a little help from a plastic sponge. Copper is an ideal
plate material here, because the film is easier to strip off
of copper than off other metals. You can cut the laminated
and hardened copper plate in the plate cutter without
crackling the film - just dip the plate in water before cutting.
Once you have gained a bit of experience with the material,
you are never in doubt as to when the plate is at the
optimum stage of development.
Two Techniques
Generally speaking, photopolymer film can be used in
two ways:
• For a non-etching technique, which corresponds to
conventional photopolymer gravure with photopolymer
plates. The depth emerges in the film during the
development process.
• For an etching technique, in which the film serves as
an acid-proof membrane while the plate onto which it
has been laminated (copper, steel, or zinc) is being
etched. The photopolymer film is extremely acid-proof
and well suited for even the deepest bites.
There are several brands and manufacturers of photo-
polymer film on the market. For non-etchings, where you
develop the image on top of the plate, the film should
have a thickness of 50 microns, so that it is able to hold
enough ink to print the dark areas of the image jet black.
For etchings, I recommend a thickness of 15 microns,
as in this connection the film only has to serve as etching
ground and will be removed before the printing.
47
PHOTOPOLYMER FILM - FOR NON-ETCHINGS

1 Prepare and de-greasethe copper plate (p. 13).

2 Laminate photopolymerfilm onto the plate.
3 Expose the aquatint screen (only if the artwork is
a continuous tone positive).
4 Expose the positive.
5 Develop the photopolymerfilm.
6 Harden the photopolymerfilm.
7 Ink up the plate and print it.
8 Strip (remove) the photopolymerfilm.

The Working Process in Outline - Non-Etchings.

The Positives on Transparent Film

For the positive to be exposable on the photopolymer
film , it must be fixed to a transparent material , e.g. inkjet
1. The Line Drawing
Line drawings can be sketches , ,iJQ,(fi
·~·~
Vrln1
hatchings , letters and the like on .1,· 't' ~~' t~
film , overhead film , drawing foil or the like. The first transparant material , e .g . · f ' ..
time you work with photopolymer film, you must calibrate photographic film , overhead film , ,.°?,.\ 1. • 1'1-J \.iJl ~
the positive to match your equipment. This means that drawing foil , etc . The common -~ ~ .lf ': ~
you must establish an average exposure duration, which denominator of these types of j ) ~-~, 1 \ 1G'
matches your individual UV light source. You only have artwork is that they consist in lines ~~.l. .-~..'.·,;{ I t:.
to do this once for each of the various types of stencils only, ~nd seen on a light table they . · ,· ) · \ . ,
(positives) that you count on working with. The exposure contain only black or transparent ,_, 1·- \/j
duration partly depends on your technical equipment areas - no grey tones . Hatchings /) :-~ ,f (}'\~J'
(the strength of the UV lamp, the distance to the vacuum may appear as a range of grey tones 1 _( . l, ( -{'
frame , etc.), partly on the character of the artwork. because of the varying distance ~ tw±. m kJl
between individual lines , but lines they are nonetheless.
The positives that are easiest to transfer are the line
drawing and halftone positives - i.e. the purely black- 2. The Halftone
and-white films . Continuous tone positives, i.e. positives A halftone can be a photograph , a painting or any image
without a dotted screen structure , contain grey tones from a computer screen . It is transferred to transparent
or large black areas and therefore require the exposure film with the help of a stochastic screen . This means that
of an aquatint screen first. As the working processes the image is translated into a structure of different-sized
are intimately connected with the various types of dots , which in certain areas of the image are closer
stencils, this presentation will deal with them separately. together than in other areas - the naked eye will perceive

48
..............-

this as grey tones when the to white . When placed on a light table , the artwork clearly
image is placed on a light table . shows grey tones. The thinner the application of the media,
Butif you use a magnifying glass or the more diluted , the lighter the tones.
it becomes clear that the image ~
consists of dots - black or ;:-'
transparent - so no grey tones . A ~ t-
halftone can be printed out from
a photosetter at a prepress
company, or it can be printed out
from a regular computer and an .
ink jet printer . It must always be
printed out so that the dots in the
blackest areas of the image
covers exactly 70 per cent. (See ,,Digitally Generated
Stencils " pp. 68ft).

3. The Continuous Tone

The continuous tone positive could be an Indian ink
washing or a gouache on drawing foil, a continuous tone
photograph on positive film , or a photograph printed out
from a computer . The film does not contain any dotted
screen structures , but only grey tones ranging from black

49
 1. The corner of the film is cu
2. Inside peel-back layer is
pulledof.
3.The plateis placedon top o
the sprayedphotpolymer
film.

Laminating the Plate .

As previously mentioned, photopolymer film can be
laminated onto a vast range of materials (copper, zinc,
steel, Perspex, offset plates, plywood sheets, etc.). The
various plate types have each their artistic effect and
each present their own advantages and disadvantages
(see p. 73). For the purposes of this description, we
presuppose the use of a prepared and de-greased copper
plate.
The film consists of three parts : The actual film, a soft
inside protection foil or Mylar film, and a harder, crystal-
clear outside foil. The film is sandwiched between the
two layers of protective foil (the coversheets).
Lamination Solution
Before the film is laminated to the plate is has to be
sprayed with a solution of propyl alcohol and water :
Cut out a piece of film a little larger than the plate.
2 Make a cut across one corner with a sharp hobby
knife (Y2cm from the corner) .
3 Tear off the corner.
4 Pull off the soft inside peel-back layer.
5 Place the film on a newspaper with the unprotected
side facing up.
6 Spray the film with a lamination solution from an
atomizer (See text box at the left bottom).
7 Place the film on a Perspex plate on the etching press
bed (sprayed side up).
8 Carefully lower the de-greased copper plate onto the
film .
9 Cover the wet edges with plastic.
10 Run the plate through the press.
11 Remove the plastic foil and cut off excess film with a
sharp hobby knife.
12 Store the laminated plate in lightproof wrapping until
you need it.

The lamination solution is made by mixing 1 part

35% propyl alcohol I propanol with 3 parts water.
Store the solution in an atomizer.

50
 4. The edges are covered with
plastic (inside layer).
5. The plate is runned through
the etching press and the
plastic is removed.
6. Excess film is cut of.

Preparing the Developer Safety

Before exposing the positive onto the plate, you need to A solution based on sodium carbonate may irritate your
prepare the developer. The developer consists of 1Og skin, so use rubber gloves. The sodium carbonate solution
sodium carbonate (washing soda or soda ash) dissolved may be poured directly down the drain when you are
in 1 litre of water. The developer works best at ordinary through using it. If there are any impurities in the liquid ,
room temperature. strain them off so as not to clog up the drain. These
strained-off bits, as well as the remains from the stripping
It is practical to make a large quantity while you are at it. of the plate, are to be disposed of according to the
If stored in a container with a tight lid, it will keep for an environmental regulations in your area.
almost unlimited amount of time . I always make 20 litres
at a time myself, which I then keep in a plastic container
with a tap at the bottom (seep. 84). For 20 litres of water,
you need 200 g washing soda. The easiest way to dissolve
the little crystals is to whisk them out in a bit of hot water.
When they have dissolved , fill up with the rest of the
water at 20°c. But remember: it is very important to be
exact: 1Og washing soda per 1 litre of water.

The developing process then takes place in a photo tray.

There is no reason to pour any more developer into the
tray than necessary: The developer just has to cover the Spraying the film with the
plate. lamination solution

51
Calibrating Positives to the Exposure Unit
In the following I will guide you through the working
processes for the three main groups of positives. Following
these descriptions will enable you to calibrate your
exposure equipment for all of these types of procedures
once and for all. Our point of departure is a copper plate,
laminated with photopolymer film .
1. Calibration of the Line Drawing
Place the laminated copper plate on the vacuum frame.
Leave the top protection. foil on.
2 Place the line drawing on top with the artwork facing
against the plate. Turn on the vacuum. and expose the
plate in the UV light for 2-3 minutes. (Since the line
drawing only contains black and white, the exposure
time is not critical.)
3 Take out the plate and remove the top foil by rubbing
your hand across the edge of the plate. Place the
exposed plate in the developer under normal electric
light.
4 Use a sponge in the developer as though you were
washing the plate.
5 The purpose of this procedure is to open up the
unexposed areas of the copper plate, where the lines
were blocking out the light Around the lines, where the
plate has been exposed to the light, the surface has
hardened and cannot be developed. After a couple of
minutes with steady movement, the image will appear
clearly. · exposed plate in the developer.
6 Take the plate out of the developer, rinse it in running
water and check the depth with the back of your hand. If
it does not feel deep enough, develop it further. The
image must appear clearly coppery in the photopolymer
film. When dealing with drawings without grey tones,
there is no need to be afraid of dev€loping the plate too
deeply.
7 Now rinse the plate, spray it with white vinegar from an
atomizer and gently rub the vinegar into the plate.
8 Give the plate a final rinse in cold water, and dab it in a
newspaper and let it dry in the drying cabinet for about 5
minutes .
9 Ink up the plate and print it.
If the drawing is rendered clear-cut and black , the plate
will have been exposed perfectly. If the black drawing
52
appears grey, the plate will have been underexposed o
overdeveloped. Make a note of the correct exposure time
and use it for future exposures of line drawings .
2 . Calibration of the Halftone
When we talk about a halftone , what we mean is that the
image has been turned into a dotted structure with a
maximum coverage of 70% in the jet black areas (see
Digitally Generated Stencils pp. 68ft). If the image had
been a continuous tone beforehand , the positive would
have to be treated the same way as a washing and
exposed with an aquatint screen first. You need to decide
whether or not you wish to incorporate halftone dots in
the image before printing it out. The exposure time in the
ultraviolet light must also be determined by a calibration
test once and for all.
Place the laminated copper plate on the vacuum
frame. Leave the top protection foil on.
2 Place the halftone lith film on top.
3 Switch on the vacuum, place a lightproof plate or'
foil on top and turn on the UV light. After 30 seconds'
exposure, move the lightproof plate or foil a little
every 15 seconds and thus produce a photopolymer
film with an exposure scale going from 30 to 120 sec.
4 Take out the plate and remove the top foil by rubbing
your hand across the edge of the plate. Place the
5 Use a sponge in the developer as though you were
washing the plate. Develop the plate two to three
minutes with steady movement all over the plate.
6 Take the plate out of the developer, rinse it in running
water and check the halftone dots with the back of
your hand. They should be felt like fine sandpaper in
the coppery {black) areas of the image. If the
development is inadequate, develop the plate further
until you can see and feel th!3 dots clearly.
7 Rinse the plate and spray it with white vinegar from
an atomizer and gently rub the vinegar into the plate.
8 Give ttie plate a final rinse in cold water, dab it in a
new.spaper and let it dry in the drying cabinet.
9 Ink up the plate and print it.
The print will show the image in a scale of grey tones .
The area in which the tones of the image are rendered

Development of the photopolymer film in soda solution .
correctly is the part of your test scale that has been
exposed correctly. If the print is a little too light it needs
less exposure, if too dark , more exposure. If necessary
you can make a new test scale with shorter intervals
centred on the best result from the first scale. Make a
note of the correct exposure time. If you always use the
same printer and always print in 70% (see pp. 68ft), you
should now have the correct exposure time for all future
halftones.
Sources of Error
If open bites arise in the darkest areas (which should
appear jet-black), y_ou have either exposed the film too
briefly in the UV exposure unit, or your halftone positive
has been printed in more than 70% (see p. 72) - if you
look at the positive through a magnifying glass on the
.light table, or measure the density of the black in
Photoshop ori your computer, the darkest areas must
only be covered by a 70% dotted structure . If the dots
are denser than that, they will close up the image and
cause open bites in the jet black areas. Therefore: check
the positive before changing the UV exposure time .
3a. Calibration of the Aqua tint Screen
The continuous tone requires a slightly different treatment,
as it consists of grey tones from white to jet-black. We
shall therefore have to expose aquatint grains into the
photopolymer film . They are to bind the etching ink in the
black and grey areas so that we can avoid an open bite.
The first time the aquatint screen is used, it must be
calibrated for the ultraviolet light and thus ensure that the
final print contains the full grey tonal range of the artwork.
Place the laminated copper plate on the vacuum frame.
Leave the top Mylar on.
2 Place the aquatint screen on top.
3 Switch on the vacuum, place a lightproof plate or piece
of foil on top and turn on the UV light. Move the lightproof
plate a little every 15 seconds until you have produced
a photopolymer film with an aquatint-screened exposure
scale ranging from 15 to 90 seconds.
4 Take out the plate and remove the top foil by rubbing
your hand across the edge of the plate. Place the
exposed plate in the developer.
5 Use a sponge in the developer as though you were
washing the plate. Develop the plate with steady but
gentle movements all over the plate until the aquatint
grains can be clearly felt. If the development is
inadequate, you will not be able to feel them, and if you
over-develop the plate, you risk washing away the grains.
You must rely on your senses: if the plate begins to
appear very coppery in the developer, you will have
over-developed it. If the aquatint grains cannot be felt,
extend the developing process a little.
6 Take the plate out of the developer, rinse it in running
water and check the aquatint grains with the back of
your hand. They should be felt like fine sandpaper. If the
development is inadequate, develop the plate further
until you can feel the grains clearly.
7 Rinse the plate, spray it with white vinegar from an
atomizer and gently rub the vinegar into the plate.
8 Give the plate a final rinse in cold water, dab it in a
newspaper and let it dry in the drying cabinet. Ink up the
plate and print it.
The print will show a scale of grey tones. In the jet-black
. area that was given the shortest exposure, you find the
correct exposure time. Use the corresponding exposure
tinie for aquatint in the future.
53
The aquatint screen is bought ready-made and will last a
lifetime, if you treat it properly . A good quality screen .will
leave no visible trace of the screen pattern in the final
print.

3b. Calibration of the Continuous Tone 45 55 1.05 1.15 1.25 1.35

As mentioned earlier, a continuous tone positive contains
a grey tonal range going from white to jet-black . It could
be a washing , a photograph , a painting etc. on a
transparent film . Before exposing the positive , you need
to expose the aquatint screen (see above) .

1 Place the laminated copper plate on the vacuum frame.

2 Place the aquatint screen on top.
3 Switch on the vacuum frame and expose the plate for
the optimum time.
4 Replace the aquatint screen with the washing. The first
time you expose a washing it should also be calibrated
the same way as the aquatint screen by means of a 1.40 1.55 2.15 2.30
lightproof plate or foil.
Top: Calibrating the Aquatint Screen
5 Take out the plate and remove the top foil by rubbing Bottom : Calibrating the Continuous Tone (Indian Ink Washing)
your hand across the edge of the plate. Place the
exposed plate in the developer.
washings , photocopies etc. The different media all have
6 Use a sponge in the developer as though you were
washing the plate. different transparency and therefore require different
7 Develop the plate with steady movement all over the exposure. This means that you will have found a guideline
plate . for continuous tones , but each of them has to be treated
8 Take the plate out of the developer, rinse it in running individually.
water and check the aquatint grains with the back of
your hand. They should be felt like fine sandpaper in the If the washings contain actual lines, the aquatint screen
coppery (black) areas of the image. If the development will not influence those lines negatively, and this means
is inadequate, develop the plate further until you can
that you can always expose lines and washings together
feel the grains clearly.
- but use the optimum exposure for the washing.
9 Rinse the plate, spray it with white vinegar from an
atomizer and gently rub the vinegar into the plate.
10 Give the plate a final rinse in cold water, dab it in a The exposure duration for the aquatint screen is always
newspaper and let it dry in the drying cabinet for about the same .
5 minutes.
11 Ink up the plate and print it.

If the print is too dark with loss of detail or areas of open

bite, the washing needs more UV exposure - if too light,
less exposure . Unlike the previously mentioned Materials
Photopolymer film
positives , the continuous tone positives can involve a Washing soda (Natrium Carbonate)
lot of different media , like Indian Ink, gouache , toner Aquatint screen

54

Adjusting Contrast - Flash Exposure
In gravure , the photographer 's rule of thumb applies too:
,,Exposefor the shadows, develop for the highlights". The
photopolymer film is able to render even the finest grey
tones , but some positives can be so highly contrasted
that very light and delicate tones can become too weak
when the dark and black are correctly rendered .
In such cases, and in case the positive contains extremely
fine greys, the photopolymer film may benefit from a final
flash exposure before it is developed . Not all images gain
from this flash exposure, but if a washing contains e.g.
several dark areas with important details in them , the
washing as a whole will definitely benefit from such a
treatment. Without the flash exposure you can expect a
rendering of about 80% of the artwork 's tonal range. With
the flash exposure you can expect a rendering of about
9_5%of the artwork 's tonal range.
In this case it is just as vital to do a calibration test as it
was for the aquatint screen and the positive , and it is
certainly an advantage if you have a light source with a
4 sec. 2 sec. 1 sec. 0 sec.
Flash Exposure: Indian Ink Washing. Artwork: Mette Marott
built-in timer . The duration (in seconds) of the flash
exposure depends very much on the strength of the UV
lamp.
Take the plate out of the vacuum frame after the last
exposure as if you would develop it, and remove the
positive.
2 Place the undeveloped, exposed plate in the exposure
unit without vacuum.
3 Expose the plate in steps of 1 second up to 8 seconds.
4 Develop, dry and print the plate in the usual way.
The flash exposure must not be too long , in which case
you risk burning out the image. If it is too short , nothing
happens. The correct flash exposure will decrease the
contrast in the image and produce softer and more
numerous grey tones.
55
PHOTOPOLYMER FILM - FOR ETCHINGS

General Remarks
As mentioned earlier, the photopolymer film can be used Before exposing the photopolymer film, you need to thin
as etching resist when you want the artwork images it to about 15 microns or buy a ready-made thin
etched into the copper plate. photopolymer film of 15 microns.

Many photographers and printmakers wish to etch their

photos and drawings into the copper plate, partly for
aesthetical reasons , partly for qualitative reasons or
because they intend to work the plate further in other
ways. Anybody who has experienced having to make an
actual photo gravure with gelatine-coated plates will often
have been frustrated by the long working process and
the difficulty of gaining control of the result.

With the photopolymer film it is simple and relatively fast

to achieve very beautiful results. The photopolymer
technique also gives you the option of additional work on
the plate, using acrylic resists as aquatint , soft ground ,
hard ground, lift ground , etc. Another option could be the
etching of a photograph, or a photographic fragment, into
an area of an already etched plate (see also lift ground ,
p. 32ff.). Photogravure etched BO minutes in tank. Artist: Henrik Beegh.

57
Thinning the Photopolymer Film
Remove the top foil and save it for later. Now put .the
plate in a fresh soda developer under a lid for 8 to 30
minutes. The developer thins the film evenly all over,
except for the edges : they will disappear. The pre-
developing time depends on the quality of the water that
is, the amount of calcium in the water. This means that a
test has to be made once and for all, and the plate taken
up and checked at intervals.The moment tiny perforations
begin to appear in the film, you will have over-developed
the plate by one to two minutes. At the Printmakers'
Experimentarium the optimum pre- development takes
27 minutes. When the plate is ready, take it out of the
developer and rinse off the dissolved photopolymer film
in cold, running water . Dab it quickly in clean paper and
put it in the drying cabinet. The dabbing must be swift to
keep the paper from sticking to the unprotected film. After
drying , back the plate with wrapping tape (seep . 44) and
keep the plate in a lightproof box until you are ready to
expose it. The pre-thinned plate must be used the same
day.
The Subject for Etching
The image for etching must be either a black and white
drawing/painting or a halftone . Continuous tones cannot
be etched unless they are transformed into halftones by
way of a scanning to the computer (see p. 86ff).
The subject for this
etching has been found
in a book and photo
copied onto an
overhead film. It was
exposed onto the
thinned photopolymer
film, developed, given
an even layer of aqutint
and etched 20 minutes.
The plate is now ready
to be worked further
with one or more of the
acrylic resists .
58
The Black and White Drawing/Painting
Back the pre-developed copper plate with packing
tape (see p. 44), place it in the vacuum frame and
cover it with the protection foil you removed before the
pre-development. (This prevents the film from sticking
to the stencil).
2 Now expose the artwork for ttie time it would have
required had it been a non-etching: The aquatint
exposure + that of the washing.
3 Place the exposed plate in the developer. Develop
very gently with just the weight of the sponge, since
the photopolymer film is now ultra-thin.
4 Develop the plate 1-2 minutes with steady gentle
movements all over the plate until the image looks
coppery.
5 Rinse the plate in cold running water and dip it in
ferric chloride for a few seconds.
6 Where the image oxidizes, the copper has been
bared. Non-oxidized areas of the image must be
developed further, for example by using a cotton bud.
Check again and continue till the entire image
oxidizes. In this process, it is better to be safe that
sorry and check a few extra times: Over-development
comes rapidly, and then the image will disappear.
7 Repeat stages 4-7 until the entire image oxidizes.
8 De-oxidize in vinegar and salt (see page 44), rinse,
dab and dry the plate in the drying cabinet.
9 If the image contains wide black lines or large black
areas that would create open bites in the final print,
continue with the next point. If it only contains fine
lines that would not create open bites, jump to item 12.
10 Spray on an even coat of aquatint.
11 Harden the plate for about 20 minutes in the drying
cabinet.
12 Stop out the bared edges of the plate and harden the
plate for another 10 minutes in the drying cabinet.
13 Etch the plate for 30 minutes.
14 Finally strip and rinse the plate (see p. 44).
15 A test print can be made with the photopolymer film
still on before stripping.
PS. Only washings, photocopies and line drawings
containing bold lines have to be coated with aquatint
before etching. This prevents open bites. Thin line
drawings, halftone photographs , and digital images with
halftone dots can be etched without the coat of aquatint .
 The Halftone (Photogravure)
The halftone functions as a stochastic screen when it is
exposed into the photopolymer film . Some areas of the
positive are very dark , some are lighter . The grey tone
values are made up of the sizes and concentrations of
dots in the image . The exposure duration is the same as
for a non-etched halftone (see p.52).When we are dealing
with etched photogravure , the grey tone range is achieved
partly by the dotted structure , partly by the duration of
the etching .

Develop the plate for 1-2 minutes with steady gentle

movements all over the plate until the image looks
coppery .
2 Rinse the plate in cold running water and dip it in ferric
chloride for a few seconds.
3 Where the image oxidizes, the copper has been bared.
Non-oxidized areas of the image must be developed
further, for example by using a cotton bud. Check again
and continue till the entire image oxidizes. In this process,
it is better to be safe than sorry and check a few extra
times: Over-development comes rapidly, and then
the image will disappear.
4 Repeat stages 1-3 until the entire image oxidizes.
5 De-oxidize in vinegar and salt (see p. 44), rinse, dab
and inspect the plate.
6 If you are satisfied, dry the plate in the drying cabinet.
7 Stop out the bared edges of the plate.
8 Harden the plate for another 10 minutes in the drying
cabinet.
Photogravure etched 90 minutes in Edinburgh Etch.
9 Etch the plate for 90 minutes. You can take up the plate Top: Proof with bits of photopolymer film still on top of the plate .
for inspection at any time during the etching and continue Bottom: The final print. The film has been completely stripped .
developing the plate or etching the plate. You can even
make a test print with the photopolymer film still on before Do note the difference between the two prints . The light areas in the
stripping . Finally strip and rinse the plate (see p. 44). bottom print contains plate tone, while the the top print is printing
completely white in the light areas because of the photopolyme r film.

Removing the Etching Ground

Remove or strip the photopolymer film and stop-out with
soda and water (seep. 44).

59
Safety
Because the coversheets are in place during most of the
handling , there is minimum opportunity for exposure to
the acrylates. However, constant and prolonged contact
would increase the likelihood of skin irritation .
Contact may occur while
• Trimming the film to correct size
Placing film on the plate
• Developing the film
• Removing the used film
• Handling scraps and coversheets .
After the exposure , the Mylar coversheet is removed prior
to placing the photopolymer film and plate into the
developing solution . Unexposed areas of photopolymer
film should not be allowed to touch the skin . Care should
be taken when disposing of the coversheets , since they
may contain small amounts of residue . Coversheets may
contain photopolymer residues and should never be
60
re-used for any purpose. Care should also be taken to
avoid direct contact with the used developing solution .
Minimize contact with scraps and used coversheets by
disposing of them immediately in a plastic trash bag.
Contact with the film is also possible during its removal
from the plate . At this point , the plate is placed in the
stripper (see p. 44) . Direct contact with the film and the
used developer should be avoided by wearing neoprene
gloves similar to dishwashing gloves. Gloves should be
changed or washed often to avoid build-ups of dirt and
contaminants . They should not be turned inside out.
Wash hands routinely before using the toilet , smoking or
eating! Any time the skin is directly exposed to unexposed
film or developing solution , it should be immediately
washed with soap and water. is truly effective.
 PHOTOPOLYMER PLATES - SOLAR PLATES
General Remarks
I Scandinavia we have a long-standing tradition of using
photopolymer plates (Solar Plates) for intaglio - especially
Photogravure. A lot of research has been going on since
the end of the 1980s, almost 6 years before the
photopolymer filmwas ,,discovered"for intaglio printmaking.
As mentioned earlier, photopolymer plates come in
different thicknesses and qualities .The best results have
been achieved with PHP Plates, which are backed with
thin steel sheeting. It makes the plate stiffer and easier
to handle during the copying and developing process as
well as the printing process. They are called KM 73/
Printight Photopolymer Plates (the thickness is 0.73 mm/
0.35 inch). In some countries they are sold under the
name ,,Solar Plates". The plates are about 7-1 O times as
expensive as the photopolymer film .
Handling the Plates
In principle , the plates are handled almost exactly like
the laminated photopolymer film, though you find
differences in the cutting, development, exposure, and
The photograph and the greyscale were printed from a Solar Plate
from a .,pre-press stencil" 80%/30 microns (see pp. 68ft).
Artwork: Mette Marott.
hardening processes. Apart from the logical fact that the
image cannot be etched into the plates, I will in the
following describe all the differences between laminated
film and solar plates, step by step.
Cutting the Plates
To prevent the plates from cracking, cutting and trimming
the plates should be done before the plates are hardened,
with a plate cutter or a cardboard cutter .
Before Exposure
The plates are provided with a thick protection mylar,
which adheres lightly to the photopolymer emulsion. Do
remove this mylar before any artwork (transparent) is
placed on top in the vacuum frame. If a transparent foil
has a shiny surface , air pockets may occur between the
shiny transparent and the plate . Newton rings may also
appear owing to interference between light-rays on the
surface of the two shiny surfaces. They will show up as
irregularities in weak tones. Powdering the plate with finely
grated talc and then brushing it with a soft brush can
61
solve both problems. The remaining traces of talc will
ensure that the vacuum will suck out the maximum
amount of air between the layers and thus provide the
closest possible contact.
UV Exposure
The exposure times are 4-8 times longer than the
exposure times we know from the photopolymer film -
depending on the light source and the positive. The
exposure time for the aquatint screen is normally 1/3 of
the exposure time for the continuous tone. As with the
photopolymer film, you must make a calibration test first.
Remember, if the print is too light you need a shorter
exposure time, and if it is too dark you need a longer
exposure-time.
Safety
• Use rubber gloves while developing the plate .
• Discard the protection mylar when you remove it fro
the plate.
• An unpleasant, but harmless smell will emerge during
development - be sure to ventilate well.
• The developer may be poured down the drain after
use.
• Do not touch the unhardened polymer base with your
hands.

Development and Drying

Development takes place in a photo tray with normal tap
water - 20 degrees Celsius. Submerge the plate in the
water for one minute without touching it. Brush carefully
and gently for one minute with a soft ,,painting cushion"
or ,,washing dabber" (like those used by painters to
distribute the paint). A sponge is too hard for the very
soft surface.

Rinse the plate under running cold water and place it on

a newspaper. Now dab excess water away with a firmly
wrung piece of chamois leather. At this phase, the plate
is extremely sensitive to dust and anything that could
scratch the very soft surface. Take care that no water
drops are left on the plate as the chalk from the water
causes stains when drying - and such stains will be
visible in the final print. Finally dry the plate in the drying
cabinet for 5-10 minutes.

Hardening
Leave the plate to harden under the UV light or in the
clear sunlight for a minimum of 20 minutes. During this
exposure, the soft polymer surface will change to a hard
plastic-like surface that can now be inked up and printed.

The plate is strong enough for an edition of more than a

thousand prints. Opposite: Print from a Photopo/ymer Plate. Artist: Henrik Baegh.

62
~-- -
CREATING THE POSITIVES
Drawing and WashingTechniques
Here we are dealing with a non-etch technique, with which
you can achieve litho-like effects by drawing and painting
directly on transparent materials. I especially recommend
drawing and painting on waterproof drawing foil (as used
by architects). When transferring the picture to the
photopolymer film, you must expose the aquatint screen
first, then the drawing/washing (see pp. 53ff). You can
also choose to paint directly onto different types of
transparent foils with grains, but as they already contain
a dot structure, you must then not expose an aquatint
screen, but instead treat the foil as a halftone positive
(see pp. 52ft). Using a light table is highly recommendable,
as it gives you the advantage of being able to review
your work continuously.
Drawing and Washing Media
Not all materials are equally suitable for this type of work,
and the good ones can only be found by trial and error.
Experience shows that gouache, lithographic pencils, and
wax crayons give good results, while for example many
felt tip pens lead to disappointment. A combination of
water-soluble India Ink and black designer's gouache can
be compared in quality to a lithographic washing. Airbrush
colours and Graphic Chemical Black No. 1659 (as soft
ground) are also well suited for the purpose. Black and
red watercolour pencils make clear lines and can be
washed out with water or spit. Watercolour pencils can
also be washed out on different pieces of drawing foil,
which are then stacked and finally exposed all at once.
Here it is an advantage to work at a light table, so as to
get an impression of the final result during the process.
You can also expose the foils in each their separate
photopolymer film laminated plate and print them in
different colours.
Toner Washings
Used toner from a photocopier makes for some interesting
washings. The toner is usually accumulated in a special
container in the machine. Be careful not to breathe in the
powder while taking a couple of teaspoonfuls of it and
pouring it into a glass. Mix the toner with about 4 parts
35'% propyl alcohol and about 1 part Liquid Hard Ground
65
 --
·~

and stir well. Once the toner is liquid, there is obviously

no risk of inhalation. With a brush or some tissue paper
you will now be able to make the most wonderful washings
on the drawing foil. If you add a little more polish with a
brush to an already washed surface, you will achieve
exciting effects. While the surface is wet , you can sprinkle
on sea salt; when it has dried, you can scratch up the
washing with steel wool or various tools and thus create
a variety of textural effects.

UV Exposure
The washing must be completely dry before it is placed
in the vacuum frame for UV exposure, otherwise you risk
that it sticks to the photopolymer film and is ruined.

The various drawing and washing media do not have the

same level of transparency , and the optimum standard
exposure time is therefore only useful as a guideline .
Under-exposure will result in a very dark print, correct
exposure will give the print a full wealth of detail , and
over-exposure will burn out all the details. Flash-exposure
may be of vital importance here (seep. 55).
Top left: Differet wash media on drawing foil - 11/uair brush color -
India Ink - Badger Acrylic Aquatint.
Top right: Differet wash and drawing medias on drawing foil.
Bottom : Preparing the art work on a light table.
Opposite: Toner Washing. Artist : Leif Lage.

66

Digitally Generated Stencils
General Remarks
The personal computer and Adobe Photoshop have in
later years replaced the conventional darkrooms .The final
blow, as far as the printmakers were concerned, was
struck by the film manufacturers, when they stopped
producing lith film and the special developers used for
lith film. These products used to form the basis of
photogravure - today, the name of the game is scanning
and digital imaging (see appendix II, pp. 85ft) .
The lucky outcome of this development is that all the
darkroom work in connection with intaglio can now be
carried out in a far more exact and completely Non-Toxic
version as compared to earlier . And what is absolutely
essential: No matter what you create on your computer
screen: text, photos , drawings , washings , collages , etc. ,
the right equipment enables you to print such images out
for copper prints in a quality which compares favourably
even with that of professional pre-press bureaus (see p.
70) - and at a cost of about a tenth of their price .You can
68
Left: Handmade stochastic screen
Right: Epson's (Stylus Color 1520) screen 65 lines per cm
print the screen image as a halftone or a continuous tone
on transparent inkjet printer film. You can print out in duplex
to be plate-printed in two colours , or you can print out
several layers separately and print the plates as two-,
three- or four-colour prints from separate copper plates.
Your options are practically unlimited .
The Printer
The print should be made on transparentfilm for ink-jet prints.
The cheap ones you get from office suppliers are less
sensitive to dust than the expensive Epson inkjet films and
far easier to handle.The printer must be able to print from a
separate black ink cartridge . Some printers are better than
others for this purpose. The ink must be jet-black, the print
quality 1440 dpi (dots per inch). The dot-structure from the
print heads differs from one printer to the other. In the
Printmakers' Experimentarium we have obtained excellent
results with the Epson Stylus Colour 1520 and 800. The
dot-structure corresponds almost exactly to the handmade
stochastic dot screen we produced for photogravures made
in the darkroom. In general, stochastic screens will give
you more beautiful results than conventional screens.
Printing the Halftone
~
Postloo
Once you have calibrated your halftone positive to the
roor--l cm .:J
photopolymer film, the exposure time and developing time ~
,,nr--lcm .:J ,..,,.,oe I
never vary (see pp. 52ft), because the image is translated p tenter maoe
Paoes.,,.,I
into a dot structure in which the blackest part is always
exactly 70% - (80% for Solar Plates) .

The point of departure for the procedure described in the p Show8o,r(ling8oJ:

following is that by using Photoshop 7.0, you have created r

p ::,fu,,,M:JreCJ,ucns
and finished a screen image that matches the intaglio
print you intend to make. .:J
r [ \ Cicl10,
~ P Rftf;jis1ra10,.~ G L.bk
~~ r CcrnerCrl:4)M,Yls r
The following settings must be used every time you print BJee(l I r r CenterCrop Mar~~ G NeQat~
out halftones for photogravure . Photoshop enables you r
to save all of these settings so that all you have to do is ~
reload them whenever they are needed .

Curves -~£1 3 Clik File >Clik ,,Print with preview "

You are now in Print. Here you can select position ,
Channe
I: Gray scale , background , borders , registrations marks etc ..
lf"''"'""OR"''''""'":
I

Reset I >Clik the ,,Screen " button in the box in the second
columm at the bottom .
············1····· ······~·········· ··~·
l

;~}~~~
Load..
Halftone Screen £f
2ave... l
r Use E.rinter'sDefault Screen OK
l Halftone Screen Cancel
Options... l Erequency: J65 J lines/cm ..:.J
'!('_

0
I/I I/I Ao.gle.J45 degrees
<-Default j

P" Ereview - >Default j

Input: ~% Shape: DiamondI ..:.J
Output:~%
l('JI~ I
t UseA!;_curate
Screens

1 The screen image has now been prepared to match
the intaglio you intend to make .
2 Click Image -> click Adjust -> click Curves . Pull the
right end-point of the graph down towards the middle
of the system of coordinates until the Output field
shows 70%. (80% for Solar Plates) > Click OK .
4 You are now in Halftone Screen . If the check mark for
,,Use Printer 's Default Screen " is visible , click it away.
Set Frequency at 65 lines/cm . Set Angle at 45
degrees . Set Shape at Diamond -> click OK here and
you are back on the menu above . > click the ,,Done"
button in the upper right corner .

69
 5 Click File ->click Print. You are now in Print. Choose ~ Color
lliCfr"I Quahljl[ SuperFne, 1440 dpr 3
printer, choose paper format , choose orientation r, Colo!Aquslment
(Portrait or Landscape) , then >click Properties . •, MedialJ'pe fPhotoQuahlyGlossyFrlm 3 Mode I
!'!,,~.--""-\IC i]
lnl<
EPSON Stylus COLOR 800 6f3 <'Color
B!!Qhlne.$1 Fa -)-

Main ] Paper ] Utility ]

r, lllack Conlr~-sl Fa -)-·
.
M:!jaffton,ng 2ah.xahon i -)-
.
Mode
r Al,!tomatic
[F,,. Dd,erng 3 OCyan i -)-
.
eMayenla i -)-
.
r. ~dvance1 More Settings... I r S~per
r
O:X:ellow i -)-
.
[ CustomSettings 3 Save Settings...
zr r ,
V Pli'P HOl~ont•I

Medial.Ype -:1
c..:J
Ink
iiE::l r. !;;olor ' I I ,,,,.
I ;'"" r
DO Cancel I Help

[ Plainpaper
r ~lack 7 You are now in More Settings.
Choose ,,Superfine 1440 dpi" under Print Quality.
CurrentSettings Choose ,,Photo Glossy Film" under Media Type.
II?A4 <f M1cr0Weave · Off Choose ,,Black" under Ink.
Choose ,,Flip Horisontal" -
~ Portrait ,Z High Speed • On
> Click OK.
Normal- 360 dpi ColorAdjustment
> Click OK on the rest and the film is printed . The film
has to be placed with the glossy side towards the
1§i1,,~1 Ab.Qut photopolymer film in order to avoid the small dots
from the transparent in the final intaglio print.

OK Annuller flnvend Hja;lp

6 Choose the index tab Main -
> click Advanced under Mode -
> click More Settings.
If you do not have access to a suitable printer, you can
always save the file on a CD and have the image printed
out at a pre-press bureau. For photopolymer film you must
save the image in 70% and print out with a stochastic screen
in 40 microns . For Photopolymer Plates/Solar Plates you
must save the image in 80% and print out with a stochastic
screen in 30 microns. This difference is due to the fact that
the Solar Plate renders more datail in the image.
----~
Instructions for pre -press
Printing the Continuous Tone
If you want your image printed out as a continuous tone,
i.e. 100% black without random dots, you should not carry
out step 2 and you must make sure that the check mark
,,Use Printer's Default Screen" in step 4 is visible. Apart
from this , you print as is described above and treat the
film as a continuous tone positive (see pp. 54ft) in the
further process .
Remember that you will be saving a lot of printer ink when
you work with halftones , and the quality is usually better.
* Printmakers and photographers who still use lith film
may find some useful instructions on my website - look
under,, The Perfect Positive ".

70
The photograph and the greyscale were printed from photopolymer film from a positive printed out in 70% on an Epson Stylus Color 1520 printer .
Exposure time 1.45 min. It is a good idea to create a grey tone scale in Photoshop and expose it with your artwork on a plate of its own and use
it to help calibrate the UV exposure. Artwork : Mette Marolt
Other Options and Effects

Multiple Layers of Photopolymer Film

If two or more layers of photopolymer film are laminated
on top of each other, many exciting options will present
themselves. Firstly, an even greater depth and coverage
of the ink becomes attainable in the final print,
corresponding to photopolymer plates/solar plates .
Secondly, the technique makes deep reliefs possible; and
thirdly, it enables you to work with several different images
on top of each other on the same plate .

Main Rules:
Never expose two or more dot structures into the
same layer of photopolymer film. One in each layer
is perfectly feasible , however.
• Remember to remove the protection foil on top of
one layer before laminating on the next.
• The technique only works for drawings or halftones , Two layers of photopolymer film. The 1st layer was
and thus not for continuous tones and washings . exposed to the aquatint screen. The second layer to
an ,,80%" halftone. Artwork: Henrik 8 0egh.

Two Layers of Photopolymer Film
You will need a halftone positive. As mentioned on page
69, the positive is perfect if the darkest areas of the film
are covered by a 70% dot structure. With denser structures
it is simply not possible for the light to pass through the
positive, and the end-resultwill be open biting in those areas.
If we imagine that you print your positive with a coverage
of 80% in the black areas instead of 70% (see page 69,
step 2) it would give you an almost complete closure in
the black areas , and it would never be possible to make
a print of it without open bites .
This problem , however, can be solved with two layers of
photopolymer film. When you have laminated the copper
plate with the first layer, expose the aquatint screen as
described on page 53. Instead of developing the plate ,
just remove the protection foil and laminate another layer
of photopolymer film on top of the first one (without
spraying it with the lamination solution) . The plate is now
provided with two layers of photopolymer film , of which
the bottom layer has had an aquatint exposure . Now
expose the positive into the top layer, using the exposure
time that proved itself suitable for halftone positives (see
p. 52). Finally remove the protection foil and develop the
plate as usual.
In areas where the positive is covered with an 80% dot
structure , the plate receives almost no light, so that area
is almost immediately dissolved in the developer . In this
case , however, there is an aquatint underneath to hold
on to the etching ink. The rest of the image (the light
areas) metaphorically speaking ,,don 't care" about the
underlying aquatint, as the light areas harden immediately
in the developer , which will therefore never be able to
affect the aquatint. The result will be a beautiful print with
a deep aquatint black where there would normally have
been open bites if you were using only one layer of
photopolymer film .
During the development process , you must be extremely
careful not to wash away the aquatint in the dark areas .
Concentrate on the light areas when you develop the plate.

72
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Detail from relief print. Etched 6 hours in tank. Artwork: Carin Larsen.
Drawing and Relief
As previously mentioned, a drawing needs no aquatint
grains - it is black and white or dark and light. How black
the final print is depends how deeply the plate was
developed . Multiple layers of photopolymer film naturally
makes it deeper. The same goes for pure black and white
areas. Therefore, this is the way to make perfect plates
for relief prints . During the development it is important to
develop the film to its bottom, i.e. all the way down to the
copper - that makes the deepest relief . In principle you
can laminate an unlimited number of photopolymer film
layers on top of each other . The more layers, the deeper
the relief. But you can also settle for one layer, then develop
to the bottom , and then etch the lines into the copper.
The depth of the relief will then partly depend on the
thickness of the copper plate, partly on the etching time.
Several Layers of Photopolymer film
By exposing different halftone positives and/or drawings
in each their separate layer (as described above in Two
Layers of Photopolymer Film), the various images of the
layers underneath will emerge in the dark areas of the
. ,.
. .. . ,.~
. ...f
.-
-~ . . :/
. . \\~ ~ ;,,,:f ,,._.- ""'- .j
2 Layers of photopolymer film. The aquatint screen and the
Indian ink washing were both exposed to the top layer.
Artwork : Nanna Sjostrom .
layers above and thus form a collage. Here you need not
be afraid of overdoing the sponge-work while developing
the plate: You need to get down through the layers so that
you can feel the grains clearly all over the plate. If you
wish the plate to print black in the bottom , begin by
exposing the aquatint screen in the first layer.
Laminating onto an Etched Plate
Should you wish to transfer a fragment of a photograph
or the like to an etched plate , e.g. an aquatint or a soft
ground etching , all you have to do is clean and de-grease
the plate, laminate the entire plate with a thin photopolymer
film (15 microns) and harden the part of the plate outside
the area where you want to etch the fragment (like a lift
ground , see p. 32) . Then expose the halftone onto the
plate and etch (seep . 59).
Laminating onto Other Materials
Photopolymer film can be laminated onto a wide variety
of other materials , such as linoleum, wood, offset plates,
or ·Perspex. If you experience any difficulty in fastening

73
the film to the material, just clean and de-grease the
surface and spray the film with lamination solution first
(see p. 50). You might also pour on a layer of liquid hard
ground before lamination. This technique enables you to
transfer e.g. the structure of a plywood plate to the bottom
of your print, and you can work the plate further with
suitable tools, e.g. wood-caNing tools. Laminating on
Perspex enables you to check the image through the
material after it has been developed , simply by holding it
up to the light.
Sunlight Exposure
On a clear, sunny day, one can achieve controlled UV
exposures in direct sunlight. When carrying out the test
exposures , begin at 2-3 minutes for drawings and 4-6
minutes for halftones and other artworks containing a
dot structure . As you normally do not have access to
vacuum outdoors, the positive must first be laminated
onto "the photopolymer film to obtain sufficient contact.
Bring the photopolymer film laminated plate and the
positive to the printing press . Remove the protection foil
from the Photopolymer film and place your positive on
74
,,The inventor" of the ,.wrinkled image" effect, Elisabeth Dove,
preparing her work.
top of the emulsion side. The film adheres immediately,
and you will just have to run it through the press once .
Then expose it in the sun. Afterwards do not attempt to
tear the positive off the plate - that will ruin both film and
positive . Instead, put the plate with the positive on top
into the developer (the soda solution) . Now you can pull
off the positive and develop the plate in the normal fashion
(see page 52). Afterwards , rinse the positive in plain,
running water and hang it out to dry. The soda solution is
merely ,,softened " water , and it will only damage the
positive if you are using inkjet prints (because their ink is
water-soluble).
Create Effect for Effect

Wrinkled Images Collage

Exposing the photopolymer film before laminating it onto Collages of exposed photopolymer film positives are
the plate works perfectly well. Simply leave both foils on made in the same way. After exposing the positive into
the film and place it loosely on a piece of card or copper the un-laminated film , pull off both foils . Now you can
in the vacuum frame and expose your positive into the tear it to pieces and place the scraps on the plate criss-
film. cross in several layers. When you are done, put the foil
on the plate. The scraps are laminated on when they are
In the darkroom you then remove the two protection foils. run through the press. Then develop and print as usual.
This leaves the film all soft and wobbly. Put it on the
copper plate with the exposed side up. You can fold,
wrinkle and squish it as you please. Finally replace the
protection foil and run the plate through the press. You
can now develop the film as usual, harden and print it.

If you want a black aquatint bottom under or around the

wrinkled photo, you must first laminate the plate normally
and expose the aquatint screen without developing. Then
wrinkle or fold the exposed positive (as described above)
on top of the aquatint-exposed plate. Run it all through
the press and develop as above.
Left: Wrinkled photo placed on an alredy exposed
plate . Artwork: Gary Kaulitz.
Right: Collage made of strips of exposed photopolymer film
laminated on wood. Artwork : Britta Kjrerulf .

75
PHOTOCOPYTRANSFER
GeneralRemarks
The fact that the photopolymer film is in itself quite
adhesive when the top protection foil has been removed
makes it very suitable for transfers of photocopied
stencils.
Using this technique, one can transfer the stencil to the
film with a view to printing it as a relief print. The photocopy
toner will serve as stop-out for the plates that need etching
before the print. The results are surprisingly good, and
they enable the artist to use photocopies in combination
with all the other techniques in this book.
Many printmakers have some drawings on paper that
they would like to transfer and etch into copper plates so
that they can be used for intaglio. You can do this by
making a photocopy on a transparent film and proceed
as described on pages 48ft. If you want to turn a drawing
into a relief to be printed either in the usual way with
rolled-on ink or as a blind print, photocopy transfer is a
simple and effective way to do this. It is generally
recommendable to work with fresh copies from a good
photocopier. The best quality will make the best results
in the final print. The method only works with black and
white drawings or text.
1 The starting-point is a drawing.
2 Make a photocopy on paper. Laminate photopolymer
film onto a copper plate with lamination solution (see p.
50).
3 Remove the protection foil from the laminated plate and
spray the bared film with the lamination solution.
Then place the laminated and sprayed plate on the
press table with the sprayed emulsion side up. Put the
(paper) photocopy on top of it with the picture side down,
facing the photopolymer film; cover the plate with plastic
or paper and run it through the press once.
4 The photocopy now adheres to the plate, and you must
remove all the paper, so that only the toner from the
picture remains on the film. Start by ripping off as much
paper as you can - it all has to go. When you can get no
more paper off in that way, soak the plate in lukewarm
water in a photo tray and rub off the rest of the paper -
this may take a while.
5 When all the paper is gone, the toner remains on the
photopolymer film. Now you can develop the plate in
the normal developer (washing soda solution). Put the
plate in the developer and develop it for 2-5 minutes,
using a soft sponge, or leave the plate in the developer
for up to 20 minutes and rock the tray frequently until all
the photopolymer film has been dissolved, uncovering
the copper around the toner.
6 Dry the plate and back it with packing tape. Etch the
plate in Edinburgh Etch (see pp. 41ff) for 4-6 hours.
Remove the toner in the in soda-and-water (see p. 44)
with a little help from a sponge. The drawing or text now
appears as a high relief.
7 You can now roll on the ink as on a normal relief, or print
it as a blind print. Making the relief by laminating many
layers of photopolymer film on top of each other instead
of etching cannot be recommended. It breaks down after
a few prints.
Opposite top: Photocopy toner transferred to the plate - ready for
etching.
Opposite bottom: Detail from an already etched and stripped plate
- the image was a photocopy from a book (etched seven hours).
77
 THE TRANSITION TO
THE NON-TOXIC STUDIO

THETRANSITIONTOTHE NON-TOXIC STUDIO
General Remarks
Quite a few printmakers and art schools have so far
declined from changing over to the Non-Toxic System for
financial reasons . The cost of drying cabinets , aquatint
cabinets and UV exposure units for the professional studio
may constitute a bit of a deterrent, if they are to be acquired
on the professional market.
However, the handy printmaker or art school caretaker
can easily produce fully professional solutions to this
problem , indeed even better than the marketed solutions ,
because they will be built to custom .
The following equipment is a must in a modern Non-Toxic
Studio :
A Drying and Hardening Cabinet for drying plates and
hardening etching ground
An Aquatint Cabinet for applying spray-on aquatint
A UV-exposure Unit for exposure of Photopolymer Film
and Plates
A Vacuum Frame with vacuum pump for exposure of
Photopolymer Film and Plates
80
~
\ . ff !/!
0.1.Y Drying and Hardening Cabinet
The starting point is a 50 x 58 x 70 cm or 20 x 23 x 28 inch
kitchen cabinet (standard). You can fasten the cabinet to the
wall side by side with the Aquatint Cabinet and the UV-
exposure Cabinet, or place them around the studio wherever
they fit in the best.
Cut a hole to fit the hair drier in the middle of a piece of
plywood or laminated chipboard. Then screw the plate onto
the cabinet. If the hair drier is resonant, you can fit it out with a
rubber collar. Place an inexpensive CD rack (e.g. from IKEA)
in the bottom of the cabinet to hold the plates.
Materials:
1 kitchen cabinet with door
1 plywood board 60 x 58 cm (24 x 23 inch)
1 hair drier
1 CD rack
Cost, with new materials: Approx. GB£ 55 I US$ 87 I EURO 80.
 mi II I I
C --~-- -

*r\ *
:;;gl
7

*' '*
* *
~
A

For individual artists, a can with

compressed air is probably
sufficient . It lasts for about 25
plates in A4 size (20 x 30 cm or
10 x 15 inches)

Average hardening times (minimum) :
• Liquid Hard ground: 10 minutes
• Roll-on soft and hard grounds (with binder): 20 minutes
• Aquatint : 20 minutes
• Lift ground : 20 minutes
• Stop-Out: 5-1 O minutes
• Photopolymer Film: 5 minutes
0./. Y Aquatint Cabinet
The starting point is a 50 x 58 x 70 cm or 20 x 23 x 28 inch
kitchen cabinet (standard) . You can fasten the cabinet to the
wall side by side with the others or place them around the
studio .
Before you assemble the cabinet , cut off 3 cm (1 inch) of the
top of the back boarding to make a hole for the paper (A).
Assemble the cabinet and fasten a narrow shelf 5 - 10 cm (2
- 4 inches) 10 cm (4 inches) above the bottom of the cabinet ,
2 cm (1 inch) from the back boarding, so that the paper can
be pulled out from under the shelf and torn off along the lower
front edge of the shelf (B). Place the exhaust hood over the
open top of the cabinet so that it is in line with the front edge.
On the back edge you fasten two angle irons to carry the
paper roll. Each angle iron must have a hole near the end on
one ,,leg" for the bar (or pipe) that goes through the paper roll
(C). Put the bar and the roll in place. If you use an exhaust
hood with a charcoal filter , you need not connect it to a
ventilation pipe.
Materials:
1 kitchen cabinet without door
1 shelf 1Ox 57 x 1,5 cm (5 x 22,4 x 0.6 inches).
2 angle irons with at least 18 cm (7 inches) ,,legs".
1 aluminium bar (or pipe) 60 cm (24 inches), 0 1 cm (% inch).
1 exhaust hood (cooking canopy)
1 roll of paper
Price with new materials: Approx. GB£ 100 I US$ 160 I EURO 150.
In addition you need an airbrush and a compressor. I
recommend a Badger Model 350 Air Brush. (Cost: GB£ 43 I
US$ 70 I EURO 65).
For bigger studios you can buy a heavy compressor in any D.I.Y.
shop (Cost approx. GB£ 85 I US$ 140 / EURO 130).

81
0./. Y. UV-Exposure Cabinet
The starting point is a 50 x 58 x 70 cm or 20 x 23 x 28 inches
kitchen cabinet (standard). You can fasten the cabinet t~ the
wall side by side with the others or place them around the
studio .

Cut a 20 x 20 cm (8 x 8 inches) hole in the middle of a piece

of plywood or laminated chipboard. A ,,heat shield " with a
similar cut can be placed on top (use a thin offset plate - they
can be cut into shape with a normal pair of scissors) . Screw
the plate with the heat shield onto the top of the cabinet. Cut
out a thin 40 x 25 cm (16 x 10 inches) piece of sheet metal (A)
that can be shoved over the hole. Three edge strips (B), which
function as guide rails, are fastened to the top board with
Q7
screws. An approx. 2 cm (1 inch) long bolt (C) screwed through
the metal sheet functions as a stop. Bend four offset plates for
A4 prints (8 x 12 inches) along the edges and staple them
A
together for the lamphouse. Place it on the top board around
the hole and staple it on the three sides where the metal
sheet is not to be pulled out. Drill a hole in the side of the
cabinet where you want the air tube for the vacuum pump to
go out. Hang the UV lamp in the lamphouse approx. 2 cm (1
/ // ~ B HPR Mercury
inch) above the metal sheet. Place the vacuum frame in the Vapour Lamp
bottom of the cabinet. When you are to expose the printing
plate, close the door and pull out the metal sheet (A) - and
push it back in after the exposure. You can use the exposure to the plate must as a minimum equal the diagonal of the
box in a room full of daylight without causing any damage to vacuum frame . Because the intensity of the light decreases
the photopolymer film . proportionally with the square of the distance, it means that if
you double the distance between the vacuum frame and the
Materials : bulb, you must quadruple the exposure time. In any case you
1 kitchen cabinet with door must carry out a calibration test.
1 plywood board and 1 offset plate (heat shield) 60 x 58 cm
(24 x 23 inches) Average exposure times :
1 thin sheet of metal 40 x 25 cm (16 x 10 inches)
1 100 x 0.5 cm (40 x 0.2 inches) edge strip Photopolymer Film
1 30 mm bolt with nut Line drawing : 120 sec.
4 offset plates for A4 prints (aprox. 8 x 12 inches) Halftone: 105 sec.
1 UV lamp HPR 125 W with choke coil (mercury vapour lamp) Aquatint screen : 80 sec.
1 vacuum frame with air tube Continuous tone: 100-120 sec.
Price with new materials: Approx . GB£ 100 I US$ 160 I EURO 150.
Photopolymer Plates (Solar Plates)
In addition to the UV-exposure cabinet you need a vacuum Line drawing: 10 min.
frame and a vacuum pump . The maximum size of copper Halftone: 8 min.
plate you can put in this cabinet is A3 (12 x 16 inches). If you Aquatint screen: 10 min.
wish to use larger plates, you will have to use a larger cabinet Continuous Tone: 30 min.
and increase either the distance between the plate and the Hardening: 10 min.
UV lamp, or the number of lamps. With one lamp, the distance

82
0.1.Y. Vacuum Frame

Price with new materials : Approx . GB£ 13 I US$ 22 1 EURO 20.

The construction principles apply to all sizes of frames. As a

vacuum pump you can use the compressor from a discarded
refrigerator. Connect it to the vacuum frame by means of a
piece of air tube from an aquarium supply shop. You can also 7. Drill a hole in one edge . Push 8. Screw or nail the back plate
the tube through, fasten a hose from a clip-on pictureframe onto
make an adaptor for a vacuum cleaner. coupling to the tube and glue it. the bottom .

..........__
1. Build a wooden frame in the
appropriate size using 24 x 45
mm (1x2 inches) laths. Attach
weather strips (for windows) all
the way round the inner edge
~ the rubber blanket with duct
2. Cut a piece of 1 mm rubber
blanket in the same size
as the frame and staple it onto
the frame along the outer
edge (over the weather strip) .
9. Turn the frame over and glue
on a piece of cord (the type
used in Venetian blinds) in the
air hole on the inside of the
sucker disc. Seal the edge of
tape all the way round .
J- ;~~
10. Connect the air extraction
hole to the vacuum pump with a
piece of aquarium air tube. Place
the laminated copper plate or
solar plate on the rubber blanket
on top of the cord. Now place the
positive with the emulsion side
facing the copper plate and cover
the whole frame with a glass
plate from a clip-on picture frame

3. Drill a hole 5 mm (0.2 inch) in
a sucking disc.
5. Put a bot1/e or other object on
top of the sucking disc to keep
it in place while the glue dries .
4. Turn the frame upside down
and cut a round hole (approx. 10
mm) in the rubber blanket in one
comer 35 mm (112 inch) away
from each of the edges . Applysome
glue along the edge of the sucking
disc and place it over the hole.
6. Glue a piece of air tube onto
the hole in the sucking disc and
leave the glue to dry.
Materials:
45 x 24 mm (2 x 1 inches) super glue (fast-drying)
dressed laths aquarium air tube
4 x 1O mm weather strips hose coupling for air tube
1 mm rubber blanket cord
sucking disc duct tape
Adapter for a Vacuum Cleaner
Cut out a piece of Perspex or metal approx. 10 x 10 cm (4 x4
inches) and drill a hole in its centre. Fasten a hose coupling to
the tube and glue it. Connect
the hose coupling to the
vacuum frame with a piece of
air tube. Turn on the vacuum
cleaner and place the adaptor
in front of the vacuum hose -
it will immediately attach itself
to the plate, and the vacuum
is in function . Adapter for a Vacuum Cleaner

83
 '

Etching Tank Dimensions

Inside: 84 x 51 x 8 cm
33 x 20 x 3 inches
Outside: 92 x 67 x 16 cm
36 x 26 x 6 inches
Capacity: 35 litres

Etching Tank next to the sink .,Stacker boxes " Developer Container

Other Appliances in the Printmaking Studio

Developer Container
I always keep the developer for photopolymer film in a 25
litre plastic demijohn with a faucet. Of course you can
make the developer afresh every time, but this method
is a good way of ensuring that the developer always has
the same temperature (room temperature). From the
container we simply tap the amount we need into the tray.
Light Table
An effective light table is easy and cheap to make. Turn a
neon tube fitting (with tubes) upside down and remove
the grid, if there is one. Insteadscrew on a white Perspexplate.
The light table works well when you have to select negatives
or inspect positives.The fittings come in many sizes.
Sinks and Containers
In order to avoid shattered glass in the studio , all liquids
and salts should be kept in acid-proof plastic containers.
Especially the sink for rinsing the ferric chloride off the
plates pulled out of the etching tray or etching tank should
be made of acid-proof plastic . From the plastic factories
you can buy the so-called ,,stacker boxes" in
polypropylene , as well as fittings which make it easy to
build in a drain . These boxes are cheap and come in
virtually every imaginable size .
Etching Tank
The etching tank is fitted with an aquarium pump with
two tubes , each with a squeezer to regulate the air
pressure (from aquarium supply shops). The tank should
be placed next to a sink made of plastic or porcelain , so
that the plates can be pulled right out of the ferric chloride
and be rinsed and inspected. When the tank is not in use,
you switch off the pump and put on the lid to avoid
evaporation (seep. 41 ). The etching tank on the photo is
available from the Printmakers ' Experimentarium .

84
SCANNING AND DIGITAL IMAGING
SCANNING

General Remarks
Before you can work digitally with an image, you have to
scan it so you can open it in your computer. If it is a
negative or diapositive, you can either scan it yourself
by means of a film scanner, or you can have a photo CD
of it made at the photo shop. If the image is on paper,
e.g. a drawing, a washing, or a photograph, you have to
scan it on a flatbed scanner. An image from a digital
camera can be transferred directly to the computer via
the camera software.
When you are scanning images, you have to keep the
resolution in mind. The resolution tells you how large a
print you can make without loss of quality. The resolution
is closely connected to the number of pixels or dots per
inch of image. More about that later.
The Film Scanner
Film scanners are available in a wide range of qualities.
What determines the quality and thus the price is the
optimum scanning resolution. A film scanner which is
able to scan a 24 x 36 mm negative or diapositive at
4000 dpi can print the image without loss of quality in
size 30 x 50 cm or 13 x 19 inches.
It is clear at this point, then, that there is a connection
between the scanning resolution and printout size. When
printing positives in perfect quality, e.g. for photogravures,
we must always make the print in a resolution
corresponding to 300 ppi. A higher resolution will not be
understood by the printer, and a lower one means loss of
quality.

The Kodak Photo CD In order to understand this important connection, I would

Film negatives or diapositives (24x36 mm) are scanned like you to open any picture in Photoshop.
at a resolution of 550 ppi, which means that you can print
>Click lmage>click Image Size
it without quality deterioration up to a size of approx. 18 x
26 cm or 7 x 10 inches.

86
 X The Perfect Negative for Photogravure
For photogravure of black and white negatives I
Pixel Dimensions 58,ZM
I OK I recommend: I/ford XP2 Super film or Kodak T400 CN.
Width 3578 pixels Reset
--- The films are black and white , but they can be developed
Height 5683 pixels at any tourist shop offering ordinary colour development
auto
as ,,One-hour service ". The films render images with
Document51ze exquisite softness and beauty , and these soft tone
W1Qth

Height
I•
J3.61
I=
J cm
.:Jj
_:J .91
transitions are very important to the final intaglio result.
These films are no less than perfect for photogravure ,
for the experienced photographer as well as the learner .
B,esolution, J4000 JplxeIs/ Inch ..:J They are ,,born" as 400 ISO films (the speed) . Because
of their extensive tonal range , however , they can be
r exposed at any speed from 50 to 800 ISO, and no special
r Resample Jmage
: I CUblC 3 attention need be paid to that fact when the film is
developed. In practice , then , this enables you to expose
the pictures on the same film at different speeds (from
50 to 800 ISO) and subsequently have the whole film
developed as 400 ISO. No other black and white film can
You are now in the Image Size dialog box. What it says do that without causing the quality of the negatives to
inside the frames does not matter . Click away the tag suffer certain losses.
under ,,Resample Image". Now try filling in different values
for ,,Resolution" and notice what that means to the height
and width of the image. If you put ,,300" under ,,Resolution",
you will immediately be informed of the optimum printout
size of the image in centimetres or inches.
The Flatbed Scanner
Some flatbed scanners
are made so that they
can also scan films, and
,_
5enr,g:
•r ON s, ,n M"" ...
__ J~
3
3

This means that you need to have a fairly good idea of

they largely work in the
same way as film
scanners. Flatbed
0-
Doci.,wtT~ ~1
,,--
- ....,.===
-~3 :l
the size of the final intaglio print when you are scanning fllll'IType IPowYeFtn 3
in images. There is no harm in having too high a resolution scanners, however, are P111ne1oon

when you are scanning - you can always lower it in

Photoshop later, but it will cause the scanning process
normally used for
scanning pictures,
.......
!.Jl-o-T,'PI'
[,,,,.(do
..,- ., .. 3

,;J ::J.c..J
to take longer and the image to occupy more space in photos, washings and Aiturtrren1,

the computer 's memory and on the hard disc , if you

choose to save it. If, however, the scanning resolution is
drawings. Again, the
scanning resolution
~ ~ ~2'.J_J
.l.Jf:1 UndwpM<Mt,F._
1
_,:J
too low compared to the size of the final print , it could determines the size of
have dire consequences. the printout. Line CJ
~~H~i'"'I
drawings are usually ~ C,.,,,,•- I~
When you are scanning a colour image , which you intend scanned at 200 ppi,
to use as a greyscale for intaglio, you must scan it as a because they are purely black and white. Greyscales and
colour image - you will change it to greyscale in Photoshop colour images are scanned at 300 ppi, if the final print is to
later. A black and white negative is scanned as a greyscale have the same size as the original. If the print is to be twice
from the beginning . This also applies to images on paper, as big as the original, the scan must be made at 600 ppi. If
which are scanned in on the flatbed scanner . it is to be smaller, you can adjust it in Photoshop later.

87
DIGITAL IMAGING

rl Auto Select Layer r Show Bounding Box

2 The Menu Bar

Re 1 Open Image
The ,,openimage" function is found under
,,File" by selecting ,,Open".
>Click File in upper left corner >click
Open >Click View >click Fit on screen.

Re 2 Change Mode:
The ,,Change Mode function is found
under ,,lmage">"Mode".
Click Image >click Mode >click
Greyscale and confirm ,,Discard Color
Information". ~c.· ·,

tzi
The following presentation presupposes the digital
existence of the image in question, either on CD or on ZoomTool ------------.
the hard disk. I will take you through the most widely Remember that you can enlarge any part
of the picture when the magnifying glass 7'.
used tools for creating the perfect positive for intaglio. -s-
is selected, simply by clicking with the
The working process: mouse. When you want to shrink the
image, hold the ALT key down and click
1 Open Image
with the mouse. \. T.
2 Change Mode
3 The Crop Tools
4 Levels Adjustments
5 The Healing Brush
6 Save as Master Image
7 File Format
8 Image Size
9 Sharpen Image

The image has been opened, changed to greyscale

and activated to fit on screen. The ToolsPalette

88
Re 3 The Crop Tools

The Photoshop Crop Tools are found in the Tools palette Tips: Two ways of cropping the image :
(3). Click and drag to define cropping frame. • Press the Enter key
• Double-click on the part of the image you want to
Simple Cropping keep.
The program darkens the part that is about to be trimmed
off. This enables you to see how the image is going to Cropping with Pre-Defined Dimensions
look , before you actually crop it.
lt Adobe Photoshop
You can use the mouse to make delicate adjustments file .E,dit lmage .!.ayer .S,elect Fil!er Y'.iew ~
before you cut anything off . The dark area helps you idf'i: fllllffl : J2s,s cm
determine where to draw the final line .

Predefinition in the Tool Options Bar

When you select your Crop tool in the

tools pallette , you are able to pre-define
the image dimensions in the Tool Options
bar.

When you crop with pre-defineddimensions, 3

the frame you move aroundwith the mouse
has fixed proportions.

Left: Preparing the Cropping

Above: The Cropped Image

89
Re 4 Levels Adjustments

The Levels adjustments is found by selecting Image cover the tonal range from Oto 255. In other words, the
>Adjustments>Levels . This opens the Levels dialog box. darkest areas remain more or less the same, while light
The diagram shown in the dialog box is the histogram of areas become lighter.The same happens when you move
the image. It shows you how the tones in the image are the shadow slider towards the right. Now the darkest pixels
distributed with the shadows on the left and the highlights turn black , while the white remain white.
on the right.
The Gamma Slider
X The gamma slider placed exactly at the middle adjusts
the midtones of the image. If you slide it towards the
Channe
I Gray
OK right , the image will grow darker, because you are
jnputLevels: r foo ~ Reset
expanding the dark end of the image. This gives you
more details in the shady or shadowy areas . At the same
!..oad. time you are squeezing together the light end, so that
Save.. you get fewer details in the highlights.

6UIO You generally use the gamma slider for final adjustments
Options.. of the light. Thoroughgoing changes here are best
avoided , as they tend to lower the quality of the image.

~ E.review

Shadow slider Gamma slider Highlight slider

If the levels are bunched up towards the left that is a sign of shadow
clipping.

The dialog box reveals that the image lacks shadows. There are no
pixels darker than about 22 (see also the Levels dialog box p. 91).
This causes a lack of detail in the black areas.

You work visually with the levels. This means that as you
adjust the levels , the image on the screen will change . If
it does not, it is because you have not selected Preview
in the dialog box in the lower right corner .

The Shadow and Highlight Sliders

When you move the shadow or highlight slider under the
graph , you alter the contrast of the image . If, for instance,
you move the highlight slider towards the left, Photoshop
will turn the lightest areas of the image white . At the same
time , all the remaining pixels are distributed evenly to

90
The first adjustment consists in moving the shadow slider The highlight slider is is not moved since it is already in
to the right. This causes the image to grow darker . In touch with the curve.
more accurate terms , the darkest areas in the original
image become black . Finally you adjust the midtones. If the gamma slider is pushed
towards the left, the image as a whole grows lighter. The thin
gaps that have appeared in the histogram equal the 22 tones
ChanneI Gray that were missing from the dark end before the adjustments .
OK I They have now been evenly distributed along the curve.
(nputLevels: ~ ~ l255 Reset X
J
Load. J ChanneI· Gray
OK
2ave
Auto
I (nputLevels r I• 1255 Reset
J
!,,.oad
Op1ion::::J
QutputLevels· r jzss IL]
Save..

8_UtO
.... Li p- ereview ~111111111111
.... ia.i. Op1ions...

QutputLevels r 1255

.... L>. P- !:review

Above: Black areas now become black. Light areas more or less
keep the tone they had.

Right: The image as it looks after the levels ajustment.

91
Re 5 The Healing Brush

. - ~..1
One of the new tools in Photoshop 7 is
the Healing Brush. It is used in the same
way as the cloning tools, but its effect
..
is different , in that it matches the texture , tz1'.
lighting , and shading of the sampled 5
pixels to the source pixels. This feature .l
makes the tool very usable, for example
if you want to remove specks of dust , hairs or the like
from a scanned-in image. The brush constitutes such an

Specks of dust have been removed

l~ Adobe Photoshop
Eile ,Edit lmage 1,ayer ~elect Fil!er Y'.iew Window !:!el

'I CE J Brush : ~ 1: Mode: !Normal (:_

A closer inspection has shown this scan to be full of little flaws (dust In the Tool Option bar you select a brush size to
etc.) Specks of dust can easily be removed with the healing brush. match the problem at hand.

improvement for this type of task that you will not know
how you could ever do without it. ..
~

You find the healing brush in the tools pallette (5). Begin
-
the process by holding down the Alt key to choose an
area to sample from .

Then click on the individual dust particles to remove them.

92
Re 6 Save as Master Image
Gem1 [ ...JIankonrl
I always work with what I call a master image . I place all l...:JNy mappe 1-17 1-~ 1-2-ny
master images in a special folder. 1-14 @1 -18 @1 ~ @ 1-3
1-14-40,25 @ 1-2 @ 1~ @ 1·3-28,18
1-15 @1 -20 @ 1~ @ i-33
When the picture is in the computer , I inspect it to see if 1-15-17.5,23 @1 -21 @ ~~~ @ 1-34-foto
it needs any changes. If not, it is put directly in the master 1-16 @1 -21-11-20 @~ @ 1-35
image folder . If it does need adjustments , I only do the .!..]
following (what we have done until now) :
Filnavn [1·35-book ll_em

• Change mode to greyscale fo1mat [TIFF[".TIF;".TIFFJ 3 Annulle,

JPEG[" JPG;• JPEG;• JPEJ
• Do cropping Save Opt1on
s PD<[" PD<] -
Save Photoshop PDF[".PDF;' .PDPJ
PICTFile[".PCT;" PICT]
• Adjust the contrast Pi,a, [• PXRJ
PNG[" PNGJ
• Retouch any dust marks or scratches Raw[" RAWJ
Calm IScitesCT[".SCTJ
• Then I save it in the master image folder . In this way Taiga[" TGA;".VDA;".ICB;".VST) -.
I make sure that all the master images are just the
way I want them , and that I always have an original r;:: ~ ]Jse Lowe,CaseE,tension

copy in the master folder of any image I work with

elsewhere.

Re 7 File Formats
Images occupy a huge amount of space on your hard
disk, especially if they are saved as uncompressed
formats.
As you can see, there are many different formats , each
with its advantages. For the present purposes, however,
you will only need TIFF, and in the following you shall see
what this format does to your images .

In the following I will give a bit of advice on how to save
images on the hard disk and make the best of them
afterwards.
Choosing the right image format is important. I only use
the TIFF formats for master images . Using this format
has the advantage of enabling you to save the different
layers you have gone through in the imaging process .
When you have an open image in Photoshop , you can
see your saving format options in this way:
• Select the File menu >click Save as.
• Under Format you can choose between the
formats Photoshop supports .
The TIFF format saves files using the family name .TIF.
The great advantage of the Tl FF format is that it can
effortlessly be exchanged between different platforms ,
such as Macintosh , Unix and PC. For the same reason it
is very popular in professional circles , because you can
be sure that the recipient of your image file will also be
able to open it.
TIFF files can be compressed by means of LZW
compression. Compressing TIFF files will not hurt the
image quality. All the information is kept. The reason that
this format is not universally used is that some programs
cannot read a compressedTIFF file. This point is rather
important if you often share your files with others . But as
long as they are on your own hard disk, you might as well
compress them . That will enable you to cut the file size

93
n half without losing image quality, so it is definitely worth
the effort. If your image has layers or alfa channels ;, the
TIFF format is also usable .
Re 8 Image Size
When you refer to the size of a digital image , you might
mean one of several different things:
• The size of the on-screen image rendering in
Photoshop
• The number of pixels in the image , A.K.A. the pixel
dimension . A pixel may be conceived as an image
element. An image is made up of a large number of
pixels .
The document size, which tells you the resolution of
the image and the size it will be printed in. The print-
out size is usually given in centimetres or inches,
while the print-out resolution is given in dots per inch.
• The size of the file .
When you change the size of the image, you are of course
changing the information that the image contains . If you
save these changes in the original image file, you lose
the original information. Therefore you should always work
with a copy of the original image , especially if it comes
from a digital camera, because that means that you do
not have a hardcopy original. (Use the ,,Save As " command).
The Image Size Dialog Box
The pixel dimension and the document size can be read
from the Image Size dialog box , which you will find in the
menu bar under the Image >Image Size . It is a fairly
simple dialog box to look at, but looks can be deceiving:
A great majority of users find it very confusing in practice.
One of the causes of this confusion is that the dialog box
behaves differently depending on the order in which you
change data, and on the options selected in the dialog
box.
PixelDimensions:12,6M (was 12.6M) I OK

Here I willl examine the pixel dimension and the document

size. The pixel dimension is another word for the number
'{y_1dth
: 13587

t[eight: J3685
I pixels

I pixels
:aJ~ Reset

3
of pixels in the image. It determines how much detail the ---Auto...
image can contain. The more pixels, the more detail. DocumentSize:

The document size is a way of measuring the size of the

image in print or when transferred to another program.
2 Wigth

Height:
jz.zs

IZ,34
jcm

Jcm
- aJ:~I
~
Finally, the resolution , like the number of pixels ,
determines how much detail the image is able to contain .
B.esolution
. J4000 I pixels/ inch .iJ I
3 --P !:_onstrain
Proportions
The pixel dimension as well as the document size and 4 --P flesamplejrn~geJI'"
B-i-cu-b-ic-----3-, ----------t-
the resolution can be altered in Photoshop . When you do
this, it affects the image. Sometimes alterations are
inexpedient , sometimes necessary . For that reason it is
1 Pixel dimensions show the file size and the image size.
important that you understand how to work with pixel
2 Document size shows the measurements of the image at any
dimension , document size and resolution; how to change given resolution.
them and , not least importantly, when . 3 Check Constrain Proportions, if you want to keep the ratio
between height and width.
4 Check Resample Image if you want to change the dimensions
Watch Out When Saving!
of the image.
Before we look at how to work with the image size , let 5 In this drop-down menu you choose which resizing method you
me give you a warning: want Photoshop to use.

94
 The Pixel Dimension
At the top of the Image Size dialog box you can see the
pixel dimension of the image. That is to say, the number
of pixels in the height and width of the image, respectively.
The total number of pixels is found by multiplying the
number of pixels in the height by the number of pixels in
the width of the image.
The pixel dimension in itself does not tell you the screen
size or printout size of the image. All you are told is how
many pixels the image consists of.
Document Size
In the middle of the Image Size dialog box you can read
the document size , which is to say the height and width
that the image will have when printed out, and the
resolution it will have at this size.
The resolution matters where the details of the image
are concerned . The higher the resolution, the closer the
pixels, and the higher the possible amount of detail.
The image shown in a resolution of 300 ppi.
Interrelation
The pixel dimension , the document size and the resolution
are of course interrelated . This interrelation is important
to bear in mind when you wish to resize your image .
Resizing the Image
There are two ways of resizing an image . One way is to
adjust the resolution , in which case you maintain all the
pixels of the image . The other is to resample the image
with a new number of pixels.
It is crucial to understand the difference between these
two methods , since one of them , as mentioned , will
maintain all the image information, while the other one
will change the basic properties of the image . Therefore
you must be careful , especially in the event of saving an
image that has been altered.
The image shown in a resolution of 200 ppi.
The image shown in a resolution of 100 ppi.
95
 Maintaining the Pixel Dimension height and the resolution will automatically be
You can change the printout size of the image witqout adjusted to fit. You may also choose to define the
changing the number of pixels in it. This is done by altering resolution , in which case the height and width will be
the resolution. If you want to make the image smaller , adjusted accordingly.
the pixels will be placed closer together, and if you want
the image to be enlarged, the distance between the pixels In this manner, you can resize the image without changing
will be increased . the original image data . All that happens is that you tell
Photoshop which printout size you want , and Photoshop
The negative from The Angkor Temples was scanned on then creates that size for you by cramming the pixels of
a negative scanner with a resolution of 3670 x 5693 pixels. the image together for a smaller image, or pulling them
If, for instance , you need to print this image in a particular apart for a larger image.
size, without altering the number of pixels , this is how it
is done: The table below shows you the interconnection between
X the resolution and the physical size of the cropped image
on page89
PixelDimensions 19,9M I I OK
Width· 3670 pixels
I ---Reset Image of 1372 x 1396 pixels (1.83 megapixels)
Height. 5693 pixels
8_UtO Resolution
I Size in centimetres
500 ppi 6,97 X 9,09
DocumentSize

2
I
Wig_th
· j2s1

Height 138,78
1cm
Icm
~j.:J .~
400 ppi
300 ppi
200ppi
100 ppi
8,71 X 8,86
11,62 X 11,82
17,42 X 17,73
34,85 X 35,46
B.esolution 1372.872 IpixeIs;inch .:) The Interrelation between Resolution and Physical Size

r
1--1 Resample(mage j 1ic.L.b1c. g
First uncheck Resample Image. When you uncheck
Resample Image, the pixel imension will remain
unaltered .
2 Then type in either Width or Height.

• To adjust printout size , open the Image Size dialog

box by selecting the Image menu> Image Size.
• Then uncheck Resample Image. This inactivates the
pixel dimension part of the dialog box. The number of
pixels in the image will now remain as is was.
• You can now choose to define the height or width of
your image . If for instance you change the width , the

96
 -
Resample Image
Another method of resizing an image is to let Photoshop The first thing to notice is that the image is given new
resample the image , i.e. calculate new data for the image pixel dimensions. Before the resampling they were 3670
properties. This function is widely used , but it is important x 5693 pixels , and with the new width and resolution they
to realise that using this method will change the original are 1218 x 1890 pixels. Evidently, some pixels were thrown
number of pixels in the image . away. Normally you do not want to throw anything away,
especially not pixels from a digital image , but there are
Let us look at the image from before. We now want to cases in which it is a good thing , and we will look at
print it at a width of 16 cm and a resolution of 300 dpi . some of those cases later.
1- X
More Pixels
Pixel Dimensions. 2.2M (was 19,9M) - - OK 4 Usually you will reduce the pixel dimension when you
'{y'.idth ]1218 Ipixels J
..:J Reset resample. You can also increase it, by changing the image

tfelght 11990 Ipixels a '~

Auto...
to a higher pixels value . Don't! The only thing you will get
this way (basically) is more data , not more detail.

I[ =-"'· Resolution and File Size

3 ,
Wigth:

Heigt,t·
110,31

j16
j cm

Icm
..:J
_:J
J·~ The most important reason for changing the size and
resolution of an image is that these factors are all-
important when it comes to file size. If you have, say, a
1O x 15 cm image with a resolution of 400 pixels per
B.eso
lution. j3DD j pixels/inch ..:J inch, the file will occupy 10.7 MB of memory space . The
··-
f.i !:onstralnProportions same image with a resolution of 200 ppi will only occupy
2.6 MB.
2 --P- ResampleJmage
. j Bicubic ..:J
Select the Image menu > Image Size. This opens the The reason for this massive difference is that a square
Image Size dialog box. inch with the lower resolution contains 200 x 200 = 4000
2 Check Resample Image in the dialog box. pixels, whereas the higher resolution will cause the square
3 In the Height field type 16 cm/ 6.3 inches, and in the inch to contain 400 x 400 = 16000 pixels. That is four
Resolution field type 300 pixels per inch. times as many pixels, so, going the other way, you could
4 Finally click the OK button, and the image is resampled. quarter the file size by halving the resolution.
5 See the outcome of the changes below.
A normal photo of the kind you know from the photo
• The Width changes to 10.31 cm/ 4.06 inches (this shop has a resolution of approximately 200 dpi . For
happens automatically when the Constrain photogravure I recommend 300 dpi no matter what.
Proportions box is checked) .
• The resolution changes (as typed in) to 300 ppi.
• The Resample Image box must be checked to allow
Photoshop to calculate new image data .
The resizing method chosen is Bicubic .
• The image now takes up 2.2 M of the memory ,
compared to 19.9 M before it was resampled .

97
Re 9 Sharpen Image X
.,
OK
When you have printed the image, it probably looks very
nice. But you can probably also make it look nicer. Reset
Photoshop has a filter that sharpens images. You cannot
P' !:review
turn a blurry image into a sharp one , but you can make a
good , sharp image even sharper .

Many users dislike this filter, because it makes the image

look less attractive - on the screen. That does not mean
that the printout will look less attractive - because it will
not.
_:J 6% .::J
The Sharpen filter in Photoshop looks through the image,
Amount jlPB %
pixel by pixel, and finds the areas that have contrast.
The contrast between neighbouring pixels is assumed to
be a sort of edge . By enhancing the contrast between ~ pixels
B.ad1us
these pixels, the image is made to look sharper.

What is difficult to decide is how high the contrast must

Ihreshold r- levels

be between neighbouring pixels before the sharpness filter

is activated , and how powerfully it should in that case be
applied.
Unsharp Mask
In order to sharpen your image in the menu bar you select
Filter > Sharpen > Unsharp Mask.
You can choose between various sharpness filters - I
only use Unsharp Mask, because this filter gives me the
most control.
In the Unsharp Mask dialog box you can adjust three
things: .Amount , Radius and Threshold . Threshold does
not apply to greyscales .
Amount can be conceived of as the strength of the filter.
Here you define how much you want to alter the contrast.
For a 300 dpi printout you can set this value at between
100 and 400, depending on the image.
parameter .The actual setting of it depends on the image,
and on the delicacy of the details you wish to sharpen .
The finer the details , and the closer together they are,
the smaller the radius.
As previously mentioned , it does not look good on screen
when you use a sharpening filter. That is due to the fact
that the screen resolution is considerably lower than that
of the printer. The disparity could be, say, 72 dpi for the
screen and 300 dpi for the printer. This is why it is
impossible to see the effect of the filter on the screen.
Under no circumstances should you be tempted to zoom
in to see whether or not the image has been sharpened -
that will only make matters worse. If you want to assess
the filter, the best thing you can do is look at the picture ,
or a section of it, as actual pixels (the 100% zoom) and
step back from the screen a bit.

Radius defines how many pixels on either side of an edge The only other way is to sacrifice a few sheets of paper
will be affected by the filter . Radius is the most crucial to test the effect of the various filters on your images.

98
PRINTING
Intaglio is a printing technique in which parts of the images
to be printed are engraved into the copper plate. When
you ink up the plate , the ink will go into the engraved
lines and images. The surface of the plate ,prints ' only
the colour of the paper, while the engraved areas will print
the etching ink in layers and relief on the paper.
All printmakers eventually develop their own personal way
of inking and wiping the plate, dampening the paper, etc.
In the following , I will describe the working process from
the finished printing plate to the finished print.
1 Preparing the Printing Paper
2 Preparing Etching Ink
3 Inking the Plate
4 Wiping the Plate
5 Printing
6 Finishing treatments
7 Preparing the Printing Paper
The Working Process in Outline
100
1 Preparing the Printing Paper
The paper we use for intaglio must possess certain
qualities . It must not yellow , it must be stable , and it
must not fluff.The paper should weigh at least 150 grams
per square metre in order to be able to absorb the soaking
water without rippling or curling while drying.
Take a suitable amount of paper sheets and tear them to
the size you need. The paper may either be handmade or
machine-made plate paper. The machine-made quality
paper often comes with irregular edges (,,deckle edges"),
which printmakers consider to be a valuable aesthetic
asset , in that they give the paper a handmade look. You
normally would not cut it - instead you fold and tear it to
size . If the paper gives you a hard time , fold it and press
the fold against the tabletop with your thumb.Then dampen
the fold with a clean sponge. After a few minutes it will be
easy to tear a nice ,,deckle edge ".
Now the paper needs to be dampened , so that it can
absorb the ink from the recessed areas of the printing
plate. Dampen the paper on one side with a wet sponge.
Do not cut the paper - instead you fold and tear it to size.
Then dampen the next sheet and place its wet side against
the dry side of the first sheet and so on, until you end up
with a wet sheet on top. Finally put the whole stack in a
plastic bag. The paper must be evenly dampened all over
the surface, and you can check this by seeing if its colour
or tone is completely even. If the paper is too wet when
you are about to print it (and it is if the water gives it a
shiny surface) , dab off excess water in an old newspaper .
You can dampen the paper you need for the day, or a
larger quantity . If you dampen more than you need for
one day, add a few drops of Roda/on (preserving agent)
to avoid mould growth on the paper . In a plastic bag, the
paper will stay damp for many days.
Printmaking papers come in several shades of white, and
in many qualities . Usually, the price is a good quality
indicator . The best papers are called Arches, Rives, van
Gelder, Fabriano, Zerkalland Hahnemuh/e. Quality papers
are usually watermarked and available in several
thicknesses.
Work the ink around on the glass plate with your spatula; it is probably
rather lean . If you want it more fatty and flexible, you can add a bit of
Easy Wipe Compound , a bit of plate oil or Litrapasta .
2 Preparing the Etching Ink
Before inking up the plate, you must prepare the ink. The
consistency of the ink is vital to the result. The ink must
be able to adhere to the recessed areas of the printing
plate, and it must be easy to wipe off the blank areas of
the plate. For intaglio we use etching ink. It comes in
cans or tubes, in many colours and qualities. If it came in
a can, carefully scrape a thin layer off the surface of the
content with a spatula . With the spatula you then transfer
the ink to the glass plate on the inking table. Do not ,,dig"
in the can with the spatula; that makes the ink in the can
dry up too quickly. Also only take the amount you need.
If the ink came in a tube , you must massage the tube
well before squeezing out the ink. Now work the ink around
on the glass plate with your spatula; it is probably rather
lean. If you want it more fatty and flexible , you can add a
bit of Easy Wipe Compound, a bit of plate oil or Litrapasta
until its consistency is like butter that is neither too soft
nor too hard to be put on a breakfast roll. If the colour is
too satiated, you can make it more transparent (or lighter)
by-.mixing in Tinting Ink instead of Litrapasta. It is
101
Inking the plate
obviously a question of routine to be able to assess the
texture and transparency of the ink. For instance , the ink
had rather be too lean than too rich when you are printing
line drawings , and the other way around if you are printing
washings and photogravures.
3 Inking the Plate
Place the plate on a newspaper and scrape up small
amounts of ink at the time with a small plastic spatula or
small pieces of thick card. Distribute the ink thoroughly
into the plate recesses with the spatula . The plate must
be completely covered by a thin layer of ink before you
finally scrape excess ink off the blank parts of the surface
and put it back on the glass plate .
4 Wiping the Plate
Now you must wipe the plate so that ink only remains in
the engraved areas of the plate , but make sure that they
are still filled up with ink. Place the plate on a newspaper
page along the edge of the glass table . The first rough
wiping is done with tarlatan . Tarlatan is a kind of open-
masked gauze , which is used among other things for
102
bookbinding . Ball up the tarlatan , arranging it so that it
has a smooth surface . Now wipe the plate , moving the
tarlatan ball in quick semi-circles towards the edge of the
plate , where your other hand is functioning as a stopper.
Frequently rotate the plate 90°. When the blank surface
is clearly visible , exchange the tarlatan for tissue paper ,
which you rub over the plate in a circular motion , adjusting
the pressure of your hand to the ,,depth " you want to go
to. Finally wipe the edges of the plate with a rag to avoid
,,edge smears " on the final print. Any ink on your fingers
can be removed with vegetable oil (for cooking) .
5 Printing the Plate
The printing takes place on a etching press . On the press
bed you first place a clean sheet of paper, then the printing
plate on top of it with the inked side up. On top of that
you put the dampened printmaking paper, then a sheet of
water -absorbing paper and finally a layer or two of felt ,
which will ensure an even pressure on the plate . When
the whole thing is turned through the rollers , the layers
will be pressed together very hard - and out comes the
final print. The pressure of the rollers on the printing plate
is adjusted beforehand so that you are just able to turn 6 Finishing Treatments
the handle evenly. When you have finished printing , clean the plates with
vegetable oil.
After each print , place the print in the drying rack and
clean any ink smears off the press bed with a fresh piece The prints , which are still in the drying rack, are to be
of tarlatan. Then the whole process can be repeated . In pressed just before they become so dry that they start to
order to avoid black fingerprints on the paper you might pucker - otherwise it will ruin the printed relief , which is
want to make some ,,tweezers " from card and use them such an important intaglio characteristic . Layer the prints
when you carry the paper to and from the press . with clean blotting paper and cardboard in between each
print. Finish off with a plywood sheet and weigh it down
If you wish to make sure that your prints are positioned with something heavy. Let the prints dry 2-3 days.
correctly on the paper , with the same , straight paper
margins every time , you can place a sheet of graph paper
on the press bed . On top of that you put a Perspex plate
(lexan plastic) the same size as the press bed and fasten
it at the corners with a bit of silicone . Now you can see
the graph paper through the Perspex and place the printing
plate and printmaking paper in exactly the same position
every time .

103
BIBLIOGRAPHY INDEX

Keith Howard: "Non- Toxic Intaglio Printmaking" Air tubes 84

Printmaking Resources 1998/ISBN 0-9683541-0-6 Airbrush 24, 81
Ajax window cleanser 17, 27
Taneli Eskola and Kari Holopainen: Aquarium pump 41, 84
"Polymer Photogravure" Aquatint screen 53, 62
Aquatint 24, 31, 58
University of Art and Design Helsinki UIAH/
Aquatint cabinet 25, 81
ISBN 951-558-001-3 Atomizer 13, 50

Henrik B0egh: Backing the plate 44

"Fotogravure'"' Backing tape 44
Forlaget B0egh 1996/ISBN 87-982792-7-0 Black hard ground 17
Bordeaux Etch 43
Henrik B0egh:
"Handbag i Non- Toxic Dybtryk" Calibration 52-54, 62
Carborundum 38
Forlaget B0egh 1998/ISBN 87-982792-9-7
CD-Rom 86
Change mode 88
Henrik B0egh: Chemistry 1O
"Non- Toxic Intaglio Step by Step" Citric acid powder 42
Forlaget B0egh 2000/ISBN 87-987757-0-7 Cleaning 44, 103
Collage 75
Merle Spandorfer, Deborah Curtiss and Jack Snyder Collograph 38
,,Making Art Safely" Compressor 81
Van Nonstrand Reinhold1996/ISBN 0-442-02131-3 Continuous tone 54, 62, 70
Contrast 55, 90
Copper 13, 41
CPS 14
Crop 89

D.I.Y. 80-84
De-greasing 13
De-oxydation (solution) 44
Detergent 17, 22
Developer (solution) 51
Digital stencil 68, 88ff
Digital imaging 68, 88
Dot structure 25, 53, 57, 68
Dpi 68
Drawing foil 65ff
Drawing techniques 65ft
Drying cabinet 14, 80

Edinburgh Etch 41
Effect 72

104
Etching 40ff Pigment 34
Etching tank 41, 84 Polishing13
Etching ink 31,101 Positive 48ff, 65ff
Exposure unit 82 Printing paper 101
Propyl alcohol 50, 65
Ferric chloride 9, 41
File format 93 Relief print 73, 77
Film scanner 86 Removing etching grounds 44
Flash exposure 55 Reversed lift ground 32
Flatbed scanner 86 Roll-on softground 22ft

Gouache 65 Sanding 12
Scanning 86
Halftone (film) 52, 59 Sharpen image 98
Hard ground 16, 22, 31 Soap flakes 36
Hardening 81 Soda crystals 51
Healing brush 92 Soda solution 51, 84
Hobby knife 50 Soda ash 51
Image size 94 Soft ground 20ft
Inking 102 Solar plates 46, 61, 69ft,
Spit bite 19, 26
Lamination (solution) 50 Stencil 68ft
Levels 90 Stop-out 17
Lift ground 31 Stripping 44
Light table 66, 84 Sunlight 74
Line drawing 48, 52
Tarlatan 102
Materials 106 Thinning the film 58
Mercury vapor lamp 47, 82 Toner 65
Microns 57, 47 Toner washing 65
Modulated aquatint 26 Toxity 9ff
Two layers 71
Nanometer 47
Negative film 87 Uniform aquatint 25
Non-etch (technique) 48 UV exposure 48, 52ft, 58, 62, 82

Open bite 17, 72 Vacuum frame 83

Vinegar 44
Packing tape 44 Wash media 65
Paper 100 Washing soda 51
Photogravure 46, 57, 61 Washing 34ft, 65ft
Photocopy toner 65 White ground 36
Photocopy transfer 77 Wiping 102
Photopolymer film 46ff
Photopolymer plates 46, 61, 69ft Zinc 13, 43

105
RECOMMENDED MATERIALS

Photopolymer Gravure
Photopolymer Film - 50 microns for non-etch
and 15 microns for etching *
Solar Plates (KM 73 R) ***
Aquatint Screen
Washing Soda (Soda Ash or Soda Crystals) **
Ink-Jet Film (Transparent) ***

Other Purposes
Detergent **
Artes Liberates Colour Kit *
Vegetable Oil (Canola Oil e.g. rape -seed oil) **
Raw Linseed Oil
Etching Inks *
Copper Plates (0.5 mm, hard) ***

The materials are available from:

* Printmaking Suppliers (Printmakers' Experimentarium)
** Supermarkets, Drugstores, D.I. Y Markets etc
Plate Preparation *** Chemical Factories, Office Suppliers and others
Scouring Cream
CPS De-Greaser
Sponges **
Wetordry Sandpaper
Chalk Powder **

Acrylic Etching Grounds

Graphic Chemical Water Based Ink Black No.
1659 and Crimson Red No. 1661
Johnson Klear Polish (500 ml bottles) **
Golden Acrylic Stop-Out Varnish *
Badger Acrylic Aquatint *
Lascaux Transparentlack 1 No 2060

Etching
Ferric Chloride 72% ***
Citric Acid Powder **
Copper Sulphate (only for zinc) Most of the materials described in this book are available all over the
world. A few products, such as Johnson Klear Polish and CPS De-
Etching Tanks *
Greaser, are not available outside Europe. There are, however,
Packing Tape alternative products. A list of these products will be kept up to date at
our website.

106
 NON-TOXIC INTAGLIO WORKSHOPS
throughout the year
in our studio in the heart of Copenhagen

Time and Place

The courses will take place weekdays from 1O am to 5 pm in the Printmakers' Experimentarium.
After 5 pm it will be possible for the participants to continue working independently until 9 pm.
We can be helpful! with accomodation at any price level.

Aim
Each course aims to make the participants sufficiently experienced in the new techniques
to be able to work on independently.

Contents
,,Acrylic Resists + Photopolymer Film"
This five-day course teaches ,,Non Toxic" hard ground, soft ground, aquatint, lift ground,
washings and photopolymer film as well as possible combinations of the above.
During the five days the participant will become completely familiarised with the different
techniques and hence be able to make in-depth experiments with personal favourites.

Participants
The courses address themselves to professional printmakers.

www.artbag.dk
click on The Printmakers' Experimentarium
click on Workshops

MATERIALS AND EQUIPMENT FOR NON-TOXIC INTAGLIO

From our studio you can mail-order all materials and equipment worldwide

www.artbag.dk
click on The Printmakers' Experimentarium
click on Shop

On The Printmakers' Experimentarium website you can always find updates on the newest techniques and
materials - we are constantly checking, testing and communicating developments in non-toxic intaglio.