press n peel test 30

Date: December 26, 2013

Room Temperature: 71 degrees Farenheit, dry

Researcher’s Name: Cathe Janke

Test Summary
Using one drawing and one high contrast photograph, I decided to alter the copper plate after etching to see how I could use the photo etching as the beginning of a finished print.

Image Adjustments in Photoshop
1. Kept image as a jpeg. (original file form, imported from camera)
2. Image > size> 5.667, 4.25, 300 dpi
3. Layer> New Adjust Layer> Invert
4. Layer> New Adjust Layer> Color Balance Highlights- Cyan= -31 Magenta= 0 Yellow= -26
5. Layer> New Adjust Layer> Channel Mixer > monochrome
6. Layer> New Adjust Layer> Curves, 4 points (see graph)
A: O: 45 I: 0  B: 0:62 I: 64    C: 0:171 I: 175     D: 0: 225  I:255
7. Filter> Filter gallery > preset aquatint screen, 720 dpi
8. Print,  same as original directions, except, dpi on printer at 300 dpi.
Print Parameters Used Let Photoshop determine colors. Gray Gamma 2.2. Rendering intent=Perceptual. Presets= Plain Paper, Resolution HQ 300

Plate Material: .032 Copper 
Plate Size: 4 x 6”

Plate Preparation
The plates were beveled, polished with 00 grade steel wool, and degreased with soy sauce and bon ami.

The image was printed on the PCB film with a Brother HL2280DW laser printer. The copper plate was placed on a phone book and the film was placed on its surface print-side-down. The film was carefully heated to the plate with a tacking iron for 8 minutes at 300 degrees F.

Testers found that backing the plate with contact paper was most pragmatic AFTER the plate had been ironed and cooled and with the film still adhered to the plate
test10A12_26film
test10B12_26.film

Etching Notes
: The plate was etched in a 39 degrees Baume Ferric Chloride bath in a vertical tank.

Time in Bath  20 minutes

Removal of Grounds
: Plates were saturated with Soy Solv cleaner and left to soak for 5 minutes. Ground was then wiped off easily with a rag.

After Bath Evaluation: looks like a good transfer

Inking Methods: 
Plate was inked with Graphic Chemical Etching Ink in Bone Black, applied with a piece of mat board. It was gently wiped in an outwards motion with a piece of tarlatan. Then paper wiped,  then hand-wiped.
Paper Type: Hahne muhle, white

Paper Soaking Time: 10 minutes 
Press Blanket Setup: Takach pressure at 5.5,  2 blankets, sheet of newsprint

Good transfer for both images, lots to work with test10.A.12.26.proof

Plate A, printed on 12/26/13, Photo of Tree,  is a good image to use and black and white

test10B12_26.proof

Plate B, Drawing, 12/26/13  the mid-tones that went black are useful and can be worked with to create a worn look to the image. It can be useful to create a certain look in the background, the etching is somewhat unexpected and is similar to a soft ground.

And in the next steps the plates were burnished and aquatinted through traditional intaglio techniques.

1/2/14
test10B1_2burnished

Print 1, 1/2/14, Plate B, burnished. Had to burnish alot to get to mid-tones.

test10B1_2step2drypointadded

Print 2, 1/2/14, added dry point lines

1/9/14
Burnished foreground and created more mid-tones on the side too.

Added some dry point lines. Degreased the plate then used sharpie to stop out the whites in the tree around the base and some pattern in the base of the tree. Added green stop out in larger areas in foreground.

Aquatinted the fine aquatint added to create darker areas in the tree and left side (ornament, Buddha on left side) 15 passes-going wider than plate, 3 vertical and 3 horizontal passes and 1 pass.
Etched- 8 minutes in 42 baume ferric.

test10B1_9aquatint

Conclusions, may burnish more of the light areas and define figure in foreground at the base on the tree.

1/14/14

Plate B, Drawing,

Burnished whites and added dry point lines, decided not to aquatint. But define spaces by burnishing out more darks, making a lighter gray in foreground. Added dry point to palm tree in middle ground to define the “dragon” shape in the background.

test10B1_14print1
Print 1
on 1/14/14
Printed in black on hahnemeuhle.
Good print, but needs more burnishing. And decided to print the next one in color to see if some marks look better in color.

test10B1_14print2

Print 2 on 1/14/14
Printed in Process Magenta, hahne muhle, soaking 1 hour.
Left black ink on the plate and added process magenta with some plate oil. Used for tarlatan and paper wiping mostly some hand wiping also.

Conclusions, looks good, time to cut the plate down to see the image better. A la poupee next.

test10B1_14print3

Print 3 on 1/14/14
No black ink used. A la poupee inking with graphic chemical ink.
Process magenta, process yellow, process blue and etching ink green (no.577) Pef Palette Process

Conclusions, some dry point lines seem wiped too much. Palm tree color is too yellow/green.

Test 10 continued, 1/16/14
Plate A, Bodhi tree
Burnish more whites in foreground.

test10A1_16print1
Print 1
Bone black, no.514c
On kitikata

test10A1_16print2
Print 2 1/16/14
Bone black no. 514c
On hahnemeuhle copperplate, soaked 1 hour

test10A1_16print3

Print 3 1/16/14
Gamblin Ultramarine Blue and Black
Light blue gampi

Plate B, Drawing
test10B1_16print1

Print 1
Added more dry point lines
A la poupee with ultramarine blue and bone black process magenta, process yellow and orange, etching ink green (no.577c)
Printed on Kitikata

test10B1_16print2

Print 2
A la poupee
On hahnemeuhle copperplate, warm

Test Conclusion
The directions given in test #17 are good for making an even transfer, although both had little mid-tones. The mid-tones went black. An image can be burnished and aquatinted numerous times to achieve the desired result.