Artist Henrik Boegh of Denmark, author of Handbook of Non-toxic Intaglio: Acrylic Resists, Photopolymer Film & Solar Plates Etching has just released a must-have handbook that covers many of the basics of his first book for creating supurb plates and prints using the classic Double-exposure method and an aquatint screen. This book is for beginners and slightly more advanced for students with an interest in more advanced Duotone techniques, as well as Direct-to-Plate, or DTP.
Henrik is a veteran author and University professor who has taught printmaking for decades after leaving his post as Chair of the Economomics department at a prestigious university in Copenhagen to pursue his craft of printmaking.
This book cuts to the chase and provides essential guidance for the begining student and excellent set of guidelines and new approaches that may surprise even the most photographically critical printmakers.
Superb troubleshooting tips throughout the book keep the student informed of all the common pitfalls of his process and provides inventive approaches to creative mark-making not previoulsy published by this veteran author and artist.
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.
Monoprints are prints made using an etched plate, but inked in different ways. Not to be confused with monotypes, which do not generally use a plate or matrix, monoprints can be made in variable editions – meaning made the same but with some differences among each print in the edition – or one-of-a-kind, like monotypes. Monotypes differ from Monoprints in that there is no matrix, and is more freeform where ink is applied directly to a piece of unetched plexiglass or other material and printed. Some monotype techniques include using mylar or other material to mask off and even pick up ink from certain areas of the plate for subsequent monotype printings. Monotypes are truly one-of-a-kind pieces since there is no “permanent” plate matrix, and none of the forms and color blending can really be repeated the same way again. They are, in effect, paintings done on a press.
Snapdragon II – monotype by Jon Lybrook courtesy of the Will Witman collection.
Recently I met printmaker Julia Lucey from California who works exclusively with monoprints using traditionally etched copper plates. Her etchings alone are wonderfully rich and detailed, but she doesn’t stop there. She layers her prints with multiple plate impressions creating a cubist-like ensemble of pieces that make up the whole.
Photogravure Polymer plates can likewise be used for monoprints in this same manner. This piece was done all on one plate, which I first wiped clean with blank ink, then effectively painted over using colored inks. Unlike traditional etching, photoshop can be used to superimpose or manipulate the artwork before the plate is made. This is also considered one of the disadvantages of polymer in that it is difficult to do much to rework the plate with much precision once it has been created because it is made of plastic. Still, there are things one can do with polymer for creative effects, such as scratching it with sandpaper, mottling it with water, or “drawing” into it with a soldering iron.
When it comes to monoprints vs monotypes, the bottom line is they are both beautiful printmaking techniques. It’s just a matter of whether or not the printmaker wishes to use or reuse an etched, drypoint, or polymer photogravure plate.