grayscale test for photo polymer gravure

Here is a grayscale from 100% - 0% black on top, and a grayscale from 80% - 20% black on the bottom.


Below are two proofs from a KM73 plate using the above image on a transparency for exposure.
Each proof is wiped slightly different.






It gives me a good idea of where the values and information drop out completely, and how smooth a transition can be achieved. Using this twin scale, I have to figure out how to eliminate the white spots. There are two types. One set in which it seems that the black area washes out. I don't know if it's residual moisture left in the transparency or if there is some other gas that is not escaping. The individually scattered white dots are a bit of a mystery to me. I'll have to re-read Jon Lybrook's page on photo polymergravure again.

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The image below is a curve test for the transparency: no adjustment to the image in the top-left spot; the 80/20 adjustment I've been using in the top-right spot, and some variations in the lower two spots.
I'm still a fan of the 80/20 curve, but it looks like the 85/15 curve would be useful for adding some contrast to very flat image that would be a bit different than just adding it in Photoshop.



same plate. the only difference is the ink wiping strategy. It's more of a feel thing. I do this to see how I'll edition an image.



This is the file I used to make the transparency/positive for the plate above.



I used a simple 80/20 curve applied over the entire image to see if I could predict what the plate would do.
This is the result.
I'm surprised by the amount of information left in the top left image. That would tell me that the dropout is somewhat higher than 80% black, therefore I can pay attention to the shadows a bit more and see what details don't have to be sacrificed.

edition variations

since this is pretty new and experimental (at least to me) I've been starting small editions from one plate then having to move on to other things, leaving the paper to rebound. Therefore, when resoaked, it stretches differently and makes registration of the next plate next to impossible.
I did a run of about 12, matching the same sized second plate as best as possible. (image on right)
Next, I cut down that second plate, changed the ink color and ran an edition of 10. (image in center)


I liked the play with overlap and small shift in scale, so decided to cut the plate on the next run with a bigger edition of 20. (image on left)
A note about this last image... the line drawing plate was the one that was cut down and printed second; the opposite of the other two images. The larger "background" color does recede because of the design, but the scale of the two plates makes it appear to advance a bit. I enjoy the slight confusion between scale and overlap.

There is one more plate that will get involved with this series.
I think I may leave one of the editions as it is now, but the other two will get at least one more color.



and just a fun photo showing plates in post exposure to make sure they are fully cured...

Solarplate Etching

technically, the plates I used are KM photopolymer plates
http://www.takachpress.com/access/tyobo.htm
the solarplate brand is also available from Takach Press
I'll have to try those as well



Encouraged by good results on Monday night, I went back to the exposure unit and made four plates.
The top one is inked with Charbonnel Etching Concentrated Blue. The range in the plate is good. I think I will change the color since this is the first plate to be printed, and with be the background. (probably some kind of green) I also will experiment with a couple of different off-white and ochre papers.



I decided to test the rest of the plates with black, to make sure I would get the saturation I wanted in a color plate. Testing with black ink on white paper makes judging value very easy. And, if the color is not working out later, at least I know its an ink problem and not a plate problem.
This one will be some kind of lighter blue, and fairly transparent.



This is the main image. It will remain black. No matter how subtle I can get the aquatint, I still have a preference for some kind of strong-handed graphic-looking image in the picture.
Technically, this is still an aquatint style plate. That just allows any width line that I want. I am pleasantly surprised by the variety of line I can get, from super delicate, almost disappearing, to very bold.



This last plate is going to be the top layer of ink. It will be a transparent white. (the black part will be white, so you have to image this image in reverse)
Since everything underneath will be a dark or middle value, (and the paper is not white) I'm curious how transparent the white will have to be. Much of the underlying image may already show through with very little transparent base mixed into the white.