At Intaglio Editions we get alot of interesting requests from people all over the world. People are printing on all things from fine Italian heavyweight paper to tea bags, from silk-like, handmade Japanese gampi to cotton T-shirts. We’ve printed on all these things with our custom, most continuous tone, fully processed, intaglio photogravure plates commercially available, up to 23 x 39″!
We do our best to respond to all inquiries and, if there’s sufficient interest, post them here, with permission of the participant whenever possible. The one below has us stumped. If anyone has any suggestions for the writer below seeking custom, little plastic 3d gizmos, I will gladly pass them on.
“I need a little plastic gizmo about two inches, or so, wide, with little rectangular cubes on it. I have one part of it and need it’s mirror image because It makes my shower doors work.
I am told that a desk top 3D printer can reproduce it easily.
Because I only need one small part, I am not going to invest in a prototype meant to use to produce thousands of pieces. Can you refer me to someone who has the 3D printer who can do this inexpensively for me? I would certainly appreciate your help.”
Cleaning up the intaglio editions website I came across an old file – not sure why it was on the website, but it reminded me of some techniques in intaglio I have yet to experiment with on the press. Granted these kinds of techniques could and probably should be simulated on the computer before going into the studio to save time, however there are occasions where what happens in the studio is a complete surprise and a gift that would never have occurred had one not ventured forward IRL (in real life) with curiosity and confidence.
So re-visit those old notebooks from time to time, as you might old friends.
Here’s what the old page of notes said:
My next plan is to try and do multiple plates – one for each of the tonal ranges
(shadow, midtones, highlights) and use complimentary colors for each of them.
– 02/22/04 – Create 3 plates:
- Get good black and white print first. Overall image must have rich blacks and nice, balanced tone.
- Last plate: Blacks only. Extract blacks from image and put it into it’s own plate. This will prevent ‘fuzzy’ look and will keep lines sharp.
- Middle and First plates – Midtone and Lighttone plates for use via a la poupee! Create two plates, on that contains the mid to preblack tones and another that ranges from highlights to midtones. — Try overlapping the mid areas on these two plates to prevent posterization, rather, color blending will occur in these areas…
- Inks of different viscosities will repel one another.
- Use a combination of translucent and concentrated inks, dob onto plate, then wipe by putting plate face down on stack of newsprint and firmly drag the plate in a particular direction. Do consistently for multiple wipings. Wipe in opposite direction in the same manner. Try rotating side to side too.
- Use magnesium carbonate to inks to make it stiffer and more viscous
- Use plate oil to make a ‘lean’, low-viscosity ink
- First plate – Lightest color
Only problem will be devising a process for coming up with somewhat accurate registration.
Instead of Q-tips or brushes or felt for a la poupee, use stiff brushes to deliver ink to plate.