Solving Newton Rings and other Pitfalls of Polymer Photogravure

Posted on July 14, 2026 by Jon Lybrook

The thrill of victory… and the agony of defeat is a quote by the late sportscaster Howard Cosell that actually defines the span of emotions printmaking offers to the casual and professional practitioner! While there are many disappointments along the path, there is nothing as elating as pulling that perfect print you’ve been working on for days.

For those of you working with DTP (or direct-to-plate, this info may still be relevant since Newton Rings typically occur between the film positive and the plate. This is because inkjet film is porous, and made to hold moisture (specifically ink). The plate surface also has moisture (as well as a light coating that rinses off in the first few seconds of plate processing). This moisture between the film and the plate is usually the cause of this pesky mottling, sometimes referred to as “measles”. It is characterized by wiggly patterns and collections of dark spots as shown below.

Newton ring mottling example in print

Newton ring mottling example on plate.

In the exposure unit, Newton Rings are clearly visible in the example below as rainbow-iridescent patterns under the glass. These colored patterns block light from getting to the plate, causing unwanted patterns.

Newton rings forming prior to exposure.

We do several things to prevent Newton Rings:

Dry the film positive in open air for 2-24 hours. then in a heated print drier for 10-12 minutes before exposing. A hair drier will work too.
Before aligning and exposing film positive, dust plate with baby powder lightly then brush away as much as possible,
The main way we eliminated Newton Rings at Intaglio Editions was to replace the glass in our frame vacuum with Kreene plastic, as suggested to us by the kind folks at Boxcar Press, in Syracuse, NY. See the link to our full workflow at the bottom of this article.

Another common issue with platemaking is dust specks. These look like a small, pure black, pinprick-sized dot, with a white halo around it. This is caused by dust getting trapped between the plate and aquatint screen. We mitigate it in the shop by having air purifiers running near the exposure unit, and by wiping down the vacuum frame with anti-static cleaner before every plate made.

When troubleshooting, make sure your aquatint screen is clean too, and isn’t showing any of the same patterns, as you’re seeing in the print. I found that storing an aquatint screen on top of some unexposed plates for a period of time caused condensation to form on the screen, which showed up as mottling in subsequent plate exposures. The light residue was easily removed with film cleaner, but I wasn’t expecting that to be an issue, until it was.

Thanks to At Honig for their photo documentation.

View my full, but somewhat outdated, Polymer Photogravure Procedure here.

Working on a project with a budget means minimizing expenses. Save yourself massive headaches, months of testing, and thousands of dollars learning platemaking and order custom plates from Intaglio Editions in Colorado USA at https://shop.intaglioeditions.com

5 BEST Intaglio Printmaking Tips of 2023 from Intaglio Editions

Posted on November 28, 2023 by Jon Lybrook

As we close down another year, it’s a good time to pause and examined what we’ve learned. Over the years we have come up with some effective ways to increase print quality and efficiency when printing steel-backed, polymer photogravure plates. Here are the Top 5 tips we use all the time when printing your Intaglio Editions polymer plate:

Jon Lybrook at Nils Borch Jensen Studios in 2018 in front of a large Keith Haring print.

Use heating pads available from drug stores to warm your plate before applying ink. The same pads can be placed under the glass ink slab. Heating the ink makes it looser and allows it to flow into the pits of the plate better, providing better density and richness. This is especially vital in winter months.
Some projects go on longer than the ink can stay fresh. Weigh your ink when mixing combinations of modifiers and inks to ensure a consistent mixture every time.
Always calender your paper before printing photogravure! This pre-stretches the paper, and allows for more consistent results. It is also necessary when printing multiple plates on the same sheet to prevent overlap.
To secure registration of your plate, lick a clean finger. Now put three dots of spit from your finger to the middle of the back of the plate. Moisture behind the plate helps prevent the plate from pivoting or sliding during the printing.
Clean your plates using a gentle solvent, like SoySolv2 after use, but avoid over-cleaning or scrubbing polymer photogravure plates. Cleaning plates too often or roughly will lead to an early loss of fidelity.

Questions? Contact us for a free consultation!

Jon Lybrook – Printmaker and Publisher, Intaglio Editions LLC

New Polymer Photogravure Book

Posted on April 4, 2021 by Jon Lybrook

Photogravure Manual by Henrik Boegh

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.

Look inside the book and buy it here: https://www.grafiskeksperimentarium.dk/butik/photogravure-instruction-manual/photogravure-instruction-manual/?lang=en

Henrik Boegh – Photogravure Manual

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.

Buy the Photogravure Handbook by Henrik Boegh here: https://www.grafiskeksperimentarium.dk/product-category/photogravure-instruction-manual/?lang=en

Fine Art Paper Tests and Luminance Calibrations

Posted on April 4, 2021 by Jon Lybrook

We recently made a major change to our plate making workflow at Intaglio Editions, and added new quality-control steps for monitoring any changes in plate sensitivity among plate batches. We also confirmed changes in plate sensitivity occur in Toyobo KM73 plates over time — even when stored in ideal, light-safe conditions. Thanks for Clay Harmon for bringing this important variable to my attention in his artful book on making Double-Exposure polymer photogravure plates: Polymer Photogravure: A Step by Step Manual Highlighting Artists and their Creative Practices

This change in workflow includes employing a new method of deriving our process compensation adjustments using the Easy Digital Negatives system by Peter Mrhar. His method for deriving adjustments is effective, comprehensive and includes calibration workflows for scanners, spectrophotometer readings, as well as eyeballing it for those interested in doing it the hard way! The ability to calibrate a process compensation adjustment for any colored ink and paper has given us a much greater degree of control, no matter the ink color or medium.

Although his color blocking system looked promising for creating deep, rich blacks, foregoing it worked better for our workflow as it was introducing posterization we couldn’t address.

With such highly calibrated plates, I wanted to verify our assumptions about the go-to papers I’ve used for over a decade, and introduce some newer papers, and those we’ve had trouble with before, including 100% cotton papers, which introduced a white haze in our solid, rich blacks consistently. We’ve generally had much better luck using Hahnemuhle Copperplate papers. Wood fibers in the alpha cellulose seem to provide more solid fields of black with our workflow and custom 1245 dpi aquatint screen.

The Torinoko 92gsm gampi from Japan had the best fidelity of the three gampi papers we tested this round. The solid blacks, shadow detail, and crisp transfer from the plate make up for the fragile surface, which can easily be abraded in handling. The paper has an antique, suede feeling and texture and prints as well as the most expensive gampi papers.

Fine art printmaking papers used in our testing include:

Japan

Germany

- Somerset Velvet 300gsm (100% Cotton Rag) white

France

Italy

- Magnani Incisioni 300gsm (50% Alpha Cellulose / 50% Cotton Rag) white

* = Waterleaf paper that contains no starch or sizing.

We purchase all of our editioning papers through Takach Paper for their quality service and experience.

Photos and proofing stills courtesy of the photographer, Tony Levin.

NOTE: We have intentionally photographed the images below under a raking light to best illustrate the benefits and shortcomings of the different papers proofed under identical conditions. All the papers were pre-calendared and had the same approximate drying time. Click to enlarge details on any of the images below.

Hahnemuhle Copperplate Bright White 100% Alpha Cellulose (detail)

Consistent in continuous tone and image integrity, Hahnemuhle Copperplate remains our go-to paper for proofing and editioning.

Hahnemuhle Durher 100% Cotton Rag (detail)

Unlike the Copperplate, this radiant white Cotton Rag paper by Hahnemuhle did not hold up as we had hoped. It tested out as the worst paper for photogravure with our plates. We were consistent in steps for calendaring the paper, as well as printing without to give each paper every opportunity to show its unique qualities.

Arches 88 – 100% Cotton Rag (detail)

This classic waterleaf paper is designed for silkscreen and monotype. It’s 100% Cotton fiber makeup and zero sizing did not provide adequate structure to absorb the ink from our plates as cleanly as other papers.

Magnani Incisioni 50% Alpha Cellulose / 50% Cotton Rag – Radiant White (detail)

We likewise had high hopes for Incisioni as it was the brightest white paper we tested. Although the contrast and quality of blacks created the most photographic-looking prints, it was too much of a good thing. With work, calendaring and careful assessment of paper moisture before printing we were able to get acceptable results.

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Hahnemuhle Copperplate Bright White 100% Alpha Cellulose (detail)

Hahnemuhle Durher 100% Cotton Rag (detail)

Arches 88 Detail – 100% Cotton Rag (detail)

Magnani Incisioni 50% Alpha Cellulose / 50% Cotton Rag – Radiant White (detail)

Conclusion: While 100% Cotton paper can be problematic in getting optimal continuous tone with Intaglio Editions plates, the cotton papers Lanaquarelle and Somerset Velvet printed relatively well, with the clear champions remaining Hahnemuhle Copperplate “Bright” White and Warm White, and the 92gsm Torinoko gampi for the best looking Asian paper for the price for simple, one-drop photogravure prints and editions.

Fifteen Year Challenge for Finer Polymer Photogravure Prints

Posted on January 18, 2020 by Jon Lybrook

When I first put my procedure for making and printing polymer photogravure plates online in 2006, it was after a few years of my own frustrations in the process. I posted it in response to a lack of comprehensive information about the subject as it pertained to creating continuous tone images for photography. The traditional printmakers weren’t concerned with it, and the computer nerds (of which I am one) didn’t have any meaningful elbow grease or track record when it came to making traditional intaglio prints.

Jon Lybrook, Master Printmaker, Intaglio Editions — Jon Lybrook, Owner and Master Printmaker, Intaglio Editions

Picking up where others’ work had left off, I created a custom workflow and process compensation curve to accommodate a finer, higher-resolution aquatint screen than anyone else was using at the time. Our screen is 2-3 times as fine as traditional rosin dust used for aquatinting copper photogravure plates. At 1200 dpi, our fine, third-generation, heavy-duty aquatint screens with custom stochastic pattern are a double-edged sword. We don’t sell them to the public because they are less forgiving than coarser screening processes, but yield superior, fine continuous tones for photogravure when handled and used under a controlled environment using the tried-and-true KM73/83 plates by Toyobo, for which our screens and system for making continuous tone plates was designed.

While excellent technical books on polymer platemaking and creating digital negatives for contact printing are now available, there were but a few good ones in 2004. The only one most of us referenced was written by digital negative pioneer and process wizard Dan Burkholder. Today, faster methods to getting inkjet-quality photogravure prints from polymer, such as Direct-to-Plate (as taught by printmaking instructor Don Messic) and reliable, open-source software for calibrating your printer drivers for making custom digital negatives now exist.

While direct-to-plate (DTP) is easier and faster to teach polymer plate making certainly, it does not employ a critical, secondary aquatint layer to create the proper plate texture and variable depths. This is what gives photogravure its unique 3D qualities, otherwise you’re just printing a flat inkjet print that’s been transferred flatly to a plate. This critical aspect of plate depth and ink relief is among the most apparent qualities in traditional photogravure prints – when made on on finer, Asian, gampi papers, in particular. While hard to demonstrate in a digital image, the look of a traditional copper plate photogravure, when executed properly, is unmistakable.

Cross-section of photogravure plate
Illustration by Peter Miller

While DYI is all the rage, some artists need an experienced, dedicated technical collaborator who understands their goals. Finding someone who has an intimate knowledge of the photo mechanical process as well as intaglio printing itself, is still the same today as it was 150 years ago. Finding such an experienced artisan is certainly harder than it was way back then.

Intaglio Editions 20 x 30" large plate — Intaglio Editions 20 x 30″ large plate

As far as process and workflow, not much has changed at Intaglio Editions in our 15 years working with artists, clients, and their collaborators. We still create custom plates to meet client specifications including plates crafted for a specific ink color. In proofing the work with the client to refine the nuances and going back to the digital file and reshooting plates as needed, we have been able to provide the optimal prints our clients demand for their fine art projects. What has changed since the early 2000s is our ability to branch out into new territory, following the traditional processes, bringing the use of polymer even closer to the look (and literal feel) of traditional copper photogravure, without the added toxicity and expense.

Isabel Eaton - Polymer Photogravre printed ca. 2009 by Jon Lybrook — Isabel Eaton – Polymer Photogravre printed 2006 by Jon Lybrook

What makes Intaglio Editions Premium Photogravure Plates different is our custom, high-resolution aquatinting process, and our ability to offer extra large pre-made plates up to 23″ × 39″ (among the largest commercially available). While other methods are limited in size and often leave tell-tale “salt-and-pepper” grain in their photogravures, our traditional double-exposure method creates a more authentically etched plate and print, but at a price. It is more time-consuming and requires more steps and attention to detail than other methods.

So why do we do it? This extra work our process requires follows closer to traditional platemaking methods and gives our custom plates the edge, literally. Unlike newer plate processes, the surface of our plates have detail and textures can be felt by the fingertips. This demonstrates how we provide the smoothest continuous tones possible with this process more in keeping with traditional photogravure plates. Our plates and prints have been praised by artists, photographers and printmaking experts worldwide for their fine nuances, smooth tones, and shadow detail.

Intaglio Editions continues to offer the photogravure-quality plates we use in our printmaking to professional artists and printmakers who love making rich, photographic prints, but who may not be interested in becoming expert platemakers as well. This helps our friends and customers get faster results, and helps them achieve that last stride of excellence that so often eludes newer plate makers, or those new to photogravure printmaking.

New and experienced printmakers alike may want to take advantage of our long-standing $99 Trial Plate offer. We’ll create an 8″ × 11″ plate of your custom image using our custom, double-screened, high-rez platemaking method for just $99, to see if our plates don’t provide the smoothest, richest continuous tones you’ve ever seen from this process. Shipping, handling and customs, duties, or other fees will apply. Our Premium Photogravure Plates and other customer services are available at the Intaglio Editions Shop.

Wiping and Printing a Polymer Photogravure Plate in 60 Seconds

Posted on September 4, 2018 by Jon Lybrook

Recent work with photographer Larry D. Hayden kept us hopping for a few days in August head. Here’s a little video excerpt showing off Larry’s evocative work and how we printed it.

Printing Continuous Tone Photogravures from Polymer Plate

Posted on September 7, 2017 by Jon Lybrook

Printing for continuous tone using polymer plates is not easy. Not only do you need to be an experienced printmaker to get good results, but you also need to be a plate technician – or have the good fortune of having one in-house: Someone who knows how to render nuances and shadow details from an image and make large plates, without sacrificing sharpness, detail and quality.

This video demonstrates printing with polymer photogravure plates from Intaglio Editions for superior photographic prints. View Intaglio Editions photogravure printmaking video tutorial – and others – directly on our main website.

We provide a wide range of traditional fine printmaking techniques and fine print editioning services.

Call Jon to talk about your fine printmaking project today at 303-818-5187.

How to Avoid Wavy Prints

Posted on November 4, 2016 by Jon Lybrook

Avoid wavy prints with Intaglio Editions!

Wavy prints can be avoided by doing some simple preparations.

You finally got to the point where your prints are coming out beautifully — with rich solid blacks and wide range of tones. Heaven!

There’s only one problem: The print is not flat! In fact it’s got some warping that’s pretty severe.

The good news: There is a solution to this horrible problem. The bad news: It involves more work! But don’t worry, it’s actually going to improve the quality of your prints in many ways, assuming smooth, continuous tone is important to your printmaking. These tips will allow you to ensure your prints are perfectly flat AND will have the added benefit of receiving the ink better and in a more uniform manner. This translates into more smooth, continous tone for your prints.

To avoid wavy prints with your intaglio printmaking, you can do 3 things:

1) Calendar the paper along with the grain, prior to printing. The grain is indicated by looking under raking light at magnification, or knowing which way the watermark faces with respect to the grain.

2) Make sure you’re printing with the grain of the paper, as well as calendaring it with the grain, prior to printing.

3) Flatten the prints while still damp, in between blotter and boards using this procedure

Happy printmaking!

Snapdragon 2 – monotype by Jon Lybrook

Photopolymer Gravure Process Q&A

Posted on June 11, 2012 by Jon Lybrook

I get several emails a year asking questions and for clarifications about photogravure done with polymer plates and my company’s intaglio workflow procedure for doing it. Good questions are usually asked more than once, so I like to publish them when they are to help prevent the need for answering the same question multiple times. I also use the information to refine my procedure.

Return-Path: <sandtrad@cmn.net>
From: Bill and Barbara Sanders <sandtrad@cmn.net>
Content-Type: multipart/alternative; boundary=Apple-Mail-23–66191753
Subject: polymer gravure artists
Date: Wed, 6 Jun 2012 15:31:00 -0600

Dear Jon,

Found your website and information from Boxcar Press and would like to discuss a few art things with you. I talked with my friend Patricia Brandstead this morning and she said you are a good resource for someone learning polymer photogravure.

A little bit of background: I have been a printmaker for 30+ years starting in Honolulu and have been making copperplate photogravures for 25+ years both in Hawaii and Colorado. This spring, returning to Hawaii and meeting up with printmakers there, I was kindly shown how to make polymer photogravures as an alternative to copper. I returned with 5 lovely etched plates! My studio is in Steamboat Springs (where Oehme Graphics is) and I have a small Brand press and a NuArc NL22-8C exposure unit. I am able (usually) to make transparencies in my Epson printer with PictoricoOHP film and I have a great screen from Mark Nelson. More “equipment” is ordered.

I have a feel for the basic “flow” of the process but have a few sticky challenges:

1. my exposure unit is a glass-topped vacuum frame which I think needs to be modified, with Kreen film?, to work with the polymer KM73 plates. Don’t have a clue how to do that

2. cutting the plates seems to be a challenge so I’m going up to Oehme Graphics to attempt to use their plate cutter

3. I have no idea of exposure units except for the times I use for copper and figuring out the curves etc are way beyond me. I have the transparencies made (by a friend) to compare to the ones I use for copper

Do you give workshops?
Does anyone?

I’ve downloaded your instructions from your site — they’re great. Would appreciate feedback as I’m feeling the polymer plates are even better than the copper!

Sincerely,
Barbara Sanders

~^*~^*~^*^~*~^*~^*~^^*~~^*^*~~^*~^*^~*^~*~^

Hi Barbara,

Thanks for your message. Ironically I “pocket called” Patricia this morning by accident! Polymer has some challenges, but what doesn’t? It is a rewarding medium, but it did take some time to get happy with it, or it with me. 🙂

I removed the glass from my vacuum frame years ago to prevent newton rings which Harold Kyle at Boxcar advised me on, and I never looked back. If you don’t have issues with newton rings, no need to even do it. My online procedure outlines what has worked for me and my process. Yours may be different. Since that time Pictorico has released a textured OHP media which may prevent newton rings. It also supposedly eliminates the need for baby powder which I used to prevent contact problems between the plate and the OHP, which tends to be a little tacky. I’ve never used it, but you might try it before going through the pain of dismantling your vacuum frame and removing the glass.

I’m using a custom aquatint screen that is considerably finer than those commercially available, among which, Mark Nelson’s are probably the best for polymer photogravure using the Toyobo KM73 plates. He also gives workshops a few times a year that are quite popular and well received. He has a special process for creating digital negatives and curves using colored inks on Epson printers that is rather involved but yields good results. I was never able to get it to work for me, but it could be because my aquatint screen is finer, which is a double-edged sword. Greater tonal range, but more pressure and contact is required in both the printing and creation of the plates.

I use a large, Kutrimmer, floor model paper cutter to cut and trim out plates. You want something sturdy, sharp, and tightly assembled. Wobbly ones ruin plates and patience!

Exposure times will be custom to your exposure unit and media used. My exposure times will likely be different from yours. Same with curves. Your inkjet printer will differ from mine such that, even if we have the exact same models, the output will differ. Determining the right curve to use is an iterative process — lots of trial and error as with most things printmaking and you’ll want some basic training in Photoshop to become familiar with using curves as an Adjustment Layer. Lynda.com has some great Photoshop tutorials.

If you’re consistent in your test process, you will get where you want to be with it eventually. I don’t give workshops, but I do make plates for printmakers, and give private consultations through my company Intaglio Editions: http://intaglioeditions.com I’m also happy to share whatever information might be helpful to you in your pursuit of the process. If you’d like to do a private consultation on the process either over the phone or in person, at your studio or mine. It seems pricey I know, until you compare it to the thousands of dollars in time, plates and paper I’ve blown over the years! Call me if you want to discuss it or have any other questions.

Also, would it be OK with you if I were to reprint your questions and my answer on my website? I’ve found it helps people get answers they need more easily sometimes.

Kind regards,
Jon Lybrook

Imagesetters, Aquatint Screens, and What Killed the Last Dinosaur

Posted on March 11, 2012 by Jon Lybrook

Imagesetters were the Tyrannosaurus Rex of graphic arts service bureaus in the 1980s. They did everything bigger, better, faster and cheaper, and took the commercial printing world by storm. They were the first wholly digital commercial output devices which used lasers to create high resolution films for the industry. They are basically giant, black and white film processors that use photo-based film and photo chemistry and are therefore, like the dinosaur Kodak, fast becoming all but totally extinct.

So why are imagesetters relevant to today’s fine art printmakers? Why is it a problem they are going away? In one sense it is not. Most printmakers are artists in their own right, and as such are scrappy, persistent, creative, industrious, loners. We figure out how to get things done, regardless of the technical difficulties and limitations. Were there to be no more aquatint screens or intaglio presses available tomorrow, you could leave it to a printmaker to find a way to work, invent a solution, plod on, and keep the tradition alive. When you’re the only one in the studio who is aware of the difficulties you face, and cares, it’s lonely, but the energy of overcoming the challenges is exhilarating and keeps us going forward.

The advent and subsequent maturity of inkjet technology has put most imagesetters out to pasture long ago (and sent quite a few south to Mexico as well). Yet, nothing has quite come along to completely replace their capabilities. While inkjet printers are perfect for creating prints, digital negatives and film positives, the dot created by inkjet technology is not at all comparable to what the behemoth imagesetters can do. Inkjet output, while lush and pristine at arms length, are smeared and fuzzy when you look at it under a loupe. When transferred to polymer plate, these fuzzy divots turn the photopolymer mushy, versus the hard, solid points required to create a good, durable plate matrix that will withstand the pressure and repetition of a professional intaglio printing press run. The commercial printmaking industry has found other, “direct to plate” methods that has made film, and thus imagesetters, obsolete. However direct to plate is very expensive and so there is still a vital need for such technology to produce aquatint screens within the fine art printmaking community.

Holy Grail of Polymer Photogravure: The Intaglio Editions Aquatint Screen

Aquatint screens are high resolution dot screens, used to produce a random pattern of precise dots on polymer plates. Aquatint screens are analogous to the rosin dust used in the step of “dusting” plates, with copper plate photogravure to create a similar, high resolution, random dot pattern. They are often used in polymer platemaking using the ‘double exposure’ method popularized by modern printmaking pioneer, teacher, and author Dan Welden. Using this method, first the plate is exposed to the aquatint screen, then to the image positive. The dot screen allows ink to get distributed evenly throughout the plate, then the film positive image creates the bias and distribution of light or dark, depending on the image. Dan is a marvelous instructor and legendary in the art of printmaking by the way, and if you have the opportunity to hear him speak or take a class with him, do not miss it.

So, one of the keys to creating rich, uniform, continuous tone intaglio prints is to have a well-made aquatint screen. At Intaglio Editions we invested in customizing the highest resolution aquatint film we could get for our process to create some of the most continuous tone, photogravure-quality intaglio prints from polymer plate. Nothing we have found commercially is as fine, nor as smooth. Unfortunately, we were never in a position to produce or sell our custom aquatint film commercially. It wasn’t what we were interested in doing and the vendor who produced them for us has since proven disinterested or incapable of living up to the standards we need.

Luckily there are still a few imagesetters being maintained and kept in production, and there are still a number of fine art printmaking supply companies offering either generic or trademarked aquatint screens they will sell you. If you find a screen you like, buy alot of them quickly. Rumor has it the industrial-grade, infrared film used in this process will soon stop being manufactured. When this happens, what will become of the polymer photogravure process is unclear. We could all settle for more graphic-arts looking prints, print using other alternative processes such as platinum and palladium, or go back to creating copper gravure plates using rosin dust!

My sense is it will go back to the way things were done during the time of Albrecht Durer, the founder of printmaking, where artists would go to the technicians and, working with them directly, would have their images engraved professionally by the artisans who know how to do it best. Much like a conductor might guide an orchestra to the proper nuances and toward the desired finale. This approach is not for all printmakers where the do-it-yourself spirit is high. But it can be much more cost effective than re-inventing the wheel. Dan Welden once asked me, do you want to be the artist wearing the beret on his head, or the guy with plunger in his hand? At the time I wasn’t sure, but my answer today is, both. As collaborators we can do so much more, so much better, and do it more consistently than we ever could on our own.

So what killed the very last T-Rex? My guess would be loneliness.

Polymer Photogravure Printmaking Tips & News

Traditional Printmaking Using Modern Methods

Category Archives: Polymer Plate Printing