NontoxicPrint.com

The Beginners Compendium                                     SEARCH THE SITE
of Non-Toxic Intaglio Printmaking

Donna Adams MFA

About the author:
Donna Adams received her Master of Fine Arts Degree from the University of Missouri, Columbia and the Graduate Certificate in Non-Toxic Intaglio Printmaking from Rochester Institute of Technology. Her RIT research is published here as 'The Beginners Compendium' - a comprehensive, easy-to-follow, illustrated guide which is a must for anyone interested in learning about and using the techniques of non-toxic intaglio printmaking.
Adams currently teaches photography and printmaking at the University of Indianapolis.

  Donna Adams Online Gallery         

• Bevel the edges with a deburring tool; or file, scrape and burnish to avoid harming the press.
• File the sharp corners to avoid harming the press and personal injury.
• Sand the surface with a circular motion of the rotary sander; use water to avoid the health hazard of creating dust.

• Wash the plate thoroughly with dish detergent.
• Rinse the plate with water. 
• Degrease the surface by spraying liberally with white vinegar (photo opposite).
• Rinse; wipe dry with a clean paper towel.

• Place a 6-8 inch long section of 2 inch-wide packing tape sticky side up against the edge of the workspace. Hold the tape in place with a section of tape across each end.
• Cut a section of ImagOn slightly larger than the plate. Handle the film carefully to avoid causing creases or dimples that would interfere with bonding.
• Begin removing the soft peel-back layer by rubbing a corner of the peel-back layer against the tape (above left).
• Separate the corner of the film from the peel-back layer without disturbing the top Mylar (above right).
• Spray the work surface liberally with water.

• Place a prepared plate on the work surface and spray the plate liberally with water to aid in repositioning the film (above left).
• Place the film with emulsion facing up on the work surface and spray liberally with water to aid in repositioning, optional (above right).
  

• Gently position the film on the plate with the top Mylar facing up (above left). If wrinkles form or air bubbles develop, lift and reposition the film as necessary. 
• Spray the top Mylar liberally with water to reduce friction (above middle).
  
• Adhere the emulsion with a squeegee using quick, light strokes; work from the center outward in all directions to remove any air bubbles (above right) Repeat, increasing pressure without introducing wrinkles in the film.

• Turn the plate over; trim the emulsion with a blade so the emulsion does not extend beyond the plate edge. Lift and discard trimmings (opposite).
• Turn the plate over so the top Mylar faces up and squeegee again.
• Push down on any remaining bubbles with a clean, lint-free cloth; pay particular attention to the edges (bottom photo).
• Pat both sides of the laminated plate dry with a paper towel. 
• Heat dry the plate with a hand dryer or hair dryer at the highest setting for 1 minute per square foot from the back side first and then the front. Avoid this step for P.E.T.G. plates since they warp, and may even melt, with excessive heat.
• Run the laminated plate through the press with the top Mylar facing down to promote adhesion.
• Leave the plate in a cool, dark location overnight to increase bonding.
• The laminated ImagOn plate is now ready for exposure in the UV exposure unit.

• Begin by filling the large tray with fresh water. Be sure the tray is free of small particles that would interfere with adhesion.
• Place a degreased plate in the tray of water (above left).
• Position a section of 2 inch-wide packing tape approximately 6-8 inch long sticky-side-up against the edge of the workspace. Hold the tape in place with a section of tape across each end.
• Cut a section of ImagOn slightly larger than the plate. Handle the film carefully to avoid creating creases or dimples that would interfere with bonding.
• Begin removing the soft peel-back layer by rubbing a corner of the peel-back layer against the tape; separate a corner of the emulsion from the peel-back layer without disturbing the top Mylar. Pull back to separate the film and Mylar top from the peel-back layer (above right).

• Position the film on the water over the plate (above left).
• Float the film on top of the water over the plate with the top Mylar facing up (above right)

• 
• Pat the film to remove air bubbles beneath it (opposite, top photo).

• Lift the plate and film together from the water. Lift from below to avoid crimping the film against the plate (opposite, second photo).

• Position the plate and film on the work surface with the top Mylar facing up and spray the mylar liberally with additional water to reduce friction.
• Reposition the film as needed to remove air bubbles or wrinkles.

• Adhere the emulsion to the plate with a squeegee using quick, light strokes from the center outward to remove air bubbles and avoid wrinkles (opposite, third photo). Repeat, increasing pressure to promote bonding.

• Turn the plate over and trim the emulsion with the blade so it does not extend beyond the edge of the plate; lift and discard the excess film (opposite, fourth photo). Turn the plate so the top Mylar faces up and squeegee again.

• Push down on any remaining bubbles with a clean, lint-free cloth (bottom photo). Pay particular attention to any edge bubbles.

• Pat both sides of the laminated plate dry with a clean paper towel.

• Heat dry the plate with a hand dryer or hair dryer at the highest setting for 1 minute per square foot from the back side first and then the front. For large metal plates, use a heat gun held at least 6 inches from the plate and move continuously to avoid melting the ImagOn.  Avoid the heating step for P.E.T.G. plates since they warp, and may even melt, with excessive heat.
• Run the laminated plate through the press with the top mylar facing down to promote adhesion. Leave the plate in a cool, dark location for 24 hours to increase bonding. The laminated ImagOn plate is now ready for ultraviolet exposure.

• Turn the platemaker on so it warms up.
• Lift the lid on the vacuum table and position the ImagOn plate on the vacuum table with the Mylar facing up. Place the aquatint screen on the plate emulsion-to-emulsion.
• Set the platemaker for the standard light units as determined by the step-test, pull a vacuum, and make the exposure. Remove the aquatint screen and proceed to the image exposure.
  

• Turn the platemaker on ahead so it warms up.
• Mark ½ inch or 1 inch divisions on the top Mylar. 
• Lift the lid on the vacuum table and position the ImagOn plate on it with the Mylar facing up; close the lid.
• Place the aquatint screen on the plate emulsion-to-emulsion. Cover the bottom strip with rubylith so it is not exposed. Working from the bottom, cover all but the second division with the second rubylith.
• Set the platemaker for a 5 light units, pull a vacuum, and make the exposure.
• Move the two pieces of Rubylith to expose the third division from the bottom of the plate. Set the unit for 10 light units, pull a vacuum and expose the plate.
• Continue in this manner, adding 5 light units to each subsequent exposure.
• Develop and print the plate. Note the darkest black on the print. If two or more are equally dark, choose the one with the least light units.
• Repeat the process with 1-light-unit increments around the best exposure.
• Develop and print the second plate. Note the darkest black. If two or more are equally dark, choose the one with the least light units. This becomes the standard aquatint screen exposure for all future plates with this platemaker and aquatint screen. 

• After removing the aquatint screen, position the image stencil on the plate emulsion-to-emulsion and tape in place.
• Position the Rubylith matte-side-down to cover all but the lowest one-sixth of the stencil; expose the bottom strip for 5 light units.
• Cover the exposed bottom section and reveal only the next one-sixth strip; expose this section for 10 light units. 
• Continue individually exposing the four remaining sections in the same manner, adding 5 additional light units to each new section until all six sections have been exposed.
• Develop and print the plate to determine which exposure gives the best tonal range. 
• For best results, make a second step-test of 1-unit increments around the exposure with the largest tonal range.

• Run tap water until it is hot; pour ½ liter of hot water in the measuring container.

• Spoon anhydrous soda ash into the gram scale until it measures 10 grams (second photo).

• Add the measured soda ash to the container with hot water (third photo).

• Stir until the soda ash is dissolved (bottom photo).

• Fill the container to 1 liter with room temperature water. Pour the water into the darkroom tray.

• Cover the tray.

• Leave the developer overnight so it comes to room temperature. Set the room temperature so the developer will remain between 65°- 70°F.

• Pull back ½ inch of the top Mylar along one entire long edge of the laminated plate.
• Position masking tape on the film along the entire length of the plate below the pulled-back edge and fold the masking tape over to the plate's backside.
• Fold a second piece of masking tape over the pulled-back edge of Mylar.  
• Measure and mark ½ inch increments on the Mylar beginning with the taped edge. Cut through the tape and Mylar along the marked increments.  
• With the marker, label the Mylar tabs sequentially 0, 1, 2, 3, etc., to 22. Label the masking tape below the tabs with matching numbers. The top photo is the plate ready for testing.
• Set the timer for 22 minutes and activate it.
• Lift the tab and remove the entire strip of Mylar marked 22. Immediately insert the plate in the developer. Cover the tray for one minute.
• Uncover the tray. Remove the Mylar strip marked 21 without lifting the plate from the developer; cover the tray. Continue removing one Mylar strip for each minute until all but the 0 strip have been removed for one minute. Lift the plate from the developer; remove the strip labeled 0. The middle photo shows the removed Mylar strips.
• Rinse the plate in cool water. Spray it with white vinegar and rub for 30 seconds. Rinse in cool water. Pat dry with a paper towel. Set the plate in sunlight to dry for half an hour.
• Examine the plate: 80% of the film should disappear by the strip marked 13; all film should be gone by 15. If this occurs, the standard developer in your studio is balanced at 10 grams of soda ash per liter of water. If the film disappears before the strip labeled 13, make a new developer solution with slightly less soda ash and re-test. If it disappears after 15, make a new developer with slightly more soda ash and re-test. The middle photo shows the strips after removal. The bottom photo is the developed plate.

• The day before exposing the plate and developing, prepare the standard developer as determined by the developer test. Cover the tray and leave it overnight.

• Expose the plate in the exposure unit. Set the timer for 9 minutes.

• Remove the top Mylar by rubbing it back from a corner and lifting off the film (top photo). Alternately, apply a small piece of masking tape to a corner of the Mylar and lift off.

• Immediately insert the plate in the soda ash solution and cover the tray.

• Turn the timer on. Do not disturb the developing plate. After 9 minutes, lift the plate from the developer and rinse the plate in cool water briefly (second photo).

• Spray white vinegar over the entire plate or place the plate in a tray of white vinegar (third photo).

• Rub the vinegar over the entire plate surface.

• Rinse the plate in cool water briefly.

• Pat both sides of the plate dry with a paper towel.

• Heat-dry both sides of a metal plate with a commercial hand-dryer or a heat gun held at least 6 inches away (bottom photo). Be careful with the heat gun to avoid melting the film. Alternately, set the plate in sunlight for half an hour or more. Do not heat P.E.T.G.

• Leave the developed plate overnight in the studio to harden the film. The developed plate is now ready for inking and printing.

• Stack the sheets of paper stock to be torn.
• Fold the top sheet of paper stock in half and then unfold it - this is easier than measuring the halfway point.
• Hold a tear bar with the sharp edge (or long straight edge) against the fold.
• Tear the paper to the desired size by lifting and gently pulling the top corner toward the sharp edge (below left).

• For small sheets: insert the sheets in a wet sink or tray of water for at least one minute (middle photo). Stack the wet sheets on a clean surface or alternate wet and dry paper. Store the wet pack of small sheets in a plastic bag. Remove one sheet at a time and blot it with a towel or blotter paper as described below. Note: If necessary, the wet pack can be stored for up to a week in a refrigerator without growing mold or fungus.
• For large sheets: Soak in water 15 minutes. Roll up the first sheet and lift it from the water; unroll on a clean surface. Squeegee each sheet with a window squeegee before stacking another. Cover the wet-pack with clean Plexiglas and weight the wet pack. Calendar each sheet just before printing: lay a sheet on the press, cover with clean paper, run through the press once (above right).

• Insert a sheet of paper stock in water.
• Remove the sheet of paper stock from the water after 1 minute.
• Place the wet paper on a Plexiglas drain board and squeegee with a window-cleaning squeegee, if desired (opposite, top photo), or hold the paper over the water to drain it.

• Place the sheet in a folded clean towel (second photo).

• Press gently from the center of the paper outward in all directions until no shiny spots remain on the paper (third photo).
• The sheet of paper stock is now ready to print.

• Insert one sheet of large paper in water.
• Remove the sheet of paper after 15 minutes. Place it between two blotters (fourth photo).

• Roll back and forth over the top blotter with a roller until no shiny spots remain on the paper (bottom photo). The sheet of paper stock is now ready to print.
• If the sheet will be used for multi-plate printing, lay it on a clean press and run it through the press once to calendar the paper before printing.

• Place the developed and hardened plate on the smooth workspace with the inks and other materials. Blend any colors and add any modifiers. Never add water to the inks. Stir the ink when beginning and every hour or so.
• 
• Before inking the plate the first time and between prints, wipe the plate with clean pellon or tarlatan (top photo).

• Dip one end of the matboard or charge card into the ink and spread a thin layer of ink on the plate (second photo). 
  

• Wipe excess ink from the surface with unsized tarlatan or pellon using gentle pressure (third photo). Akua inks do not require the wiping pressure of oil-based inks.

• Finish wiping with a new tarlatan or pellon; or do the final wipe with circular motion of newsprint or pages from a phone book (bottom photo). Note: if wiping yellow from the plate, prefer clean newsprint since phone book pages will color the ink. When inking and handling an inked plate, avoid touching the inked surface, which would leave fingerprint impressions in the print.
• Wipe the edges of the plate with a clean pellon. The inked and wiped plate is now ready to print.
• After printing, clean ink from surfaces and plates with soapy water followed by water. 

• Be sure the press bed and vinyl layer are clean.
• Lay a sheet of clean newsprint on the press bed.
• Place the inked plate on the newsprint (second photo).

• Place the prepared paper carefully over the inked plate. Use small folded pieces of paper or matboard to protect the paper from ink stains when handling the paper (third photo).

• Electrically or manually run the plate through the press (fourth photo).

• Gently lift the print from the plate (fifth photo). It is now ready to be dried.

• Before leaving the press for the day, clean the press bed and vinyl with soapy water; rinse; dry with a clean paper towel.

• Take the pressure off the press when not in use.

• Pour a few drops of liquid dish detergent on the plate. Rub with a wet sponge - gently if the plate will be reused (photo opposite).
• Rinse the plate.
• Pat the plate dry with a paper towel if the plate may be required for future printing.
• Store the plate in a cool, dry location for future use.
• If the plate will not be required for future printing, reclaim the plate by stripping the ImagOn photopolymer from the plate - see the next topic.

• Spray soapy water on the inky surfaces.
• Remove ink and soapy water by gently rubbing with a sponge.
• Rinse with water on a sponge.
• Dry inky surfaces with clean paper towel or with a clean, dry cloth rag.
• Store the plate in a cool, dry location if it will be used again later. When the plate will not be required for later printing, recycle the plate.

• Add one part soda ash to four parts hot water by volume in a measured container.
• Stir until the soda ash dissolves.
• Pour the solution into a vertical polypropylene tank or other container deep enough to cover plates.

• Cut a long section of packing tape.
• Make a tape handle on the back of the plate (top photo).
• Insert the plate into the stripper so it is covered by solution.
• Attach the plate’s tape handle to the side of the tank top with a clothes pin. Write your initials on the tape with a permanent marker if the studio space is shared. The photo on the left shows the tank; the photo on the right shows clothespins on initialed tape and the stripper, which has turned blue with use.
• Remove the plate after an hour or so to check on the stripping progress. Reinsert if film remains. In the bottom photo, the stripper has removed the film areas that printed black on a P.E.T.G. plate but thicker film areas remain.

• When no film remains on the plate, lift the plate from the stripper.
• Remove the handle from the back of the plate. If this is difficult, insert the plate in hot water or heat it for tape removal. Rubbing alcohol can remove any remaining adhesive.
• Rinse the plate in room-temperature water.
• Dry the plate with a clean paper towel.

• Raise the top of the drying system.

• Place a clean sheet of cardboard on one of the drying boards.

• Place a clean blotter on the cardboard.

• Place the wet print on the blotter (second photo).

• Place clean pellon on the print (third photo).

• Place a clean blotter on the pellon (fourth photo).

• Place a clean sheet of cardboard on the blotter (fifth photo).

• Close the drying system by pushing the button (bottom).

• Prints can be stacked. When another print is ready to be dried under pressure, remove the cardboard and place the new print on the previous top blotter. Add a new pellon and blotter before returning the cardboard and closing the drying system.
  

• Press a small section of tape against a white cloth to remove some adhesive.
• Repeatedly press tape against the dried ink mark and lift. This is a slow process.
• If the tape does not work, hold a blade with the flat, sharp edge against the paper and drag it slowly to lift a small amount of paper. Do not jab with the blade.
• Burnish with a bone burnisher to flatten the paper.
• Fill in any undesired white spots with a colored pencil.

• Lay out all the prints made with the same plate(s) and decide which should be included in the edition. Artists usually make 10% more than will be included in the edition.
• Title each print in the edition on the far left under the plate mark.
• Sign and date each print in the edition on the far right below the plate mark.
• In the center below the plate mark, write the print number (1, 2, etc.,), followed by a backslash, and then the total number of prints in the edition. For example, the print opposite is the best print in an edition of 5 so the print is labeled 1/5 in the center below the plate mark; other prints included in this edition are numbered 2/5, 3/5, 4/5 and 5/5. Prints with inconsistencies are labeled A.P. for Artist's Proof rather than given a number in the edition.

• Pour 1 teaspoon Future into a 1-cup container (top photo).

• Add 1 or 2 teaspoons toner powder (second photo). Stir well.

• Punch a hole in the lid of a bottle of rubbing alcohol. Pour 1 teaspoon alcohol into toner mixture (third photo). Stir well.

• Add 1 teaspoon Windex to toner mixture (fourth photo). Stir well.

• Add 1 teaspoon soapy water to toner mixture (bottom photo). Stir well.

• Brush the prepared Toner-Wash on the emulsion side (i.e., dull, matte side) of a scrap of 0.003 single-sided drafting Mylar and set it aside to dry.
• Examine the dried Toner-Wash for adjustments

• Cut a section of single-sided 0.003 drafting Mylar and position with the emulsion side (i.e., matte, dull side) facing up.
• Draw and/or paint Toner-Wash onto Mylar. Apply the Toner-Wash diluted or undiluted.
• Spray Windex lightly on the drafting Mylar to increase reticulation, if desired.
• Pour a few drops of rubbing alcohol over the surface for a starburst effect, if desired.
• Set the drafting Mylar aside to dry (top, opposite).
• Remove any unwanted marks by scraping with the blade or dissolve with soda ash solution.
• Make an ImagOn test plate to determine the best exposure.
• Make a standard aquatint screen exposure. Remove the aquatint screen.
• Make an image exposure with the Toner-Wash-Drawing positioned emulsion-to-emulsion on the ImagOn plate (bottom, opposite).
• Follow standard procedures for developing, inking and printing the plate.

• Cut a section of single-sided 0.003 drafting Mylar and position with the emulsion side (i.e., matte, dull side) facing up.

• Draw and/or paint Toner-Wash onto the drafting Mylar. Apply the Toner-Wash diluted or undiluted.

• Spray Windex lightly on the still-wet drafting Mylar to increase reticulation, (top, opposite).

• Set aside to dry. The bottom photo (opposite) is the dry drafting Mylar. 
  

• Make a standard aquatint screen exposure. 
  
  
• Make an image exposure with the Toner-Wash-Drawing.

• Follow standard procedures for developing, inking and printing the plate.

• Cut a section of single-sided 0.003 drafting Mylar and position with the emulsion side (i.e., matte, dull side) facing up.

• Draw and/or paint Toner-Wash onto the drafting Mylar. Apply the Toner-Wash diluted or undiluted.

• Pour a few drops of rubbing alcohol on the still-wet drafting Mylar for a starburst effect. The top photo (opposite) shows rubbing alcohol being poured from a hole in the lid of the alcohol bottle.

• Set aside to dry. The bottom photo (opposite) is the drafting Mylar after it has dried.

• Make a standard aquatint screen exposure. 
  

• Make an image exposure with the Toner-Wash-Drawing based on the results of a step-test.

• Follow standard procedures for developing, inking and printing the plate.

• Make a standard aquatint screen exposure with a prepared ImagOn plate.
• Working away from direct sunlight, draw and/or paint Toner-Wash directly onto the ImagOn Mylar (top photo). Apply the Toner-Wash diluted or undiluted, as desired.
• Spray Windex lightly on the drafting Mylar to increase reticulation, if desired.
• Pour a small amount of alcohol over the surface for a starburst effect, if desired.
• Set the plate aside to dry in a cool, dark location for approximately 30 minutes.
• When the plate is dry, make an exposure of the Toner-Wash-Drawing using the light units determined by prior experience with Toner-Wash-Drawings.
• Remove the protective Mylar and set it aside (The bottom photo is the protective Mylar with the completed Toner-Wash-Drawing after removal from the ImagOn film.).
• Immediately insert the plate in the developer.
• After 9 minutes, rinse, spray with vinegar and rub it in, rinse, pat dry and heat dry the plate. Leave the plate overnight.
• The plate is ready to ink and print according to standard procedures.

• Begin with a dry ImagOn plate that has been exposed with an aquatint screen and been through the complete development process and left overnight to harden. At this point, the plate would print a velvety black.
• Mix dilutions of screen filler in small containers, on a palette, or on the work surface (top photo).
• Apply screenfiller straight or diluted to the plate -- undiluted for white, more and more diluted for darker and darker grays. Charge the brush with water to further dilute the screenfiller or paint water on the plate to produce a wash effect.

• Various tools can be used to apply screenfiller besides brushes. In the second photo, screenfiller is applied with an eye dropper. In the third photo, undiluted screen filler is flicked from a toothbrush onto the plate.

• The bright cross on the left of the plate in the bottom photo is a still-wet thin wash of very dilute screenfiller applied with a brush. The thick circles were made with an eye dropper and the small dots with flicks of a toothbrush.
• Set the plate aside overnight to dry. Dry the screenfiller completely before inking and printing. If the screenfiller is thick, reduce the pressure on the press slightly for printing.

• Apply screenfiller to the plate with a brush and/or eye dropper.
• Heat dry. Set the plate aside to harden.
• Do not ink the plate.
• Place the plate on the press, cover with damp printing stock, and run through the press.
• Dry the plate without pressure.

• Begin with a dry ImagOn plate that has been exposed with an aquatint screen, and left overnight to harden. At this point, the plate would print a velvety black.
• Apply undiluted screenfiller with a brush or eye dropper or flick it onto the plate.
• When edges appear dry, rinse the plate with cool water.
• Pat dry, heat dry, and rework as desired.
• Pat dry. Heat dry. Set the plate aside overnight to dry. Dry the screenfiller completely dry before inking and printing. If the screenfiller is thick, reduce the pressure on the press slightly for printing.

• Add ½ liter hot water to each container. Measure the soda ash for each concentration and add to the respective containers. Stir until the soda ash dissolves. Add water to bring the solutions to 1 liter. Cover and set aside overnight.
• Expose a laminated ImagOn plate with the standard aquatint screen exposure.
• Remove the protective Mylar (top photo).
• Selectively hand develop the plate: paint or draw with the mild spit-bite concentration, then the medium, and lastly the strong concentration (second photo). Work on a dry plate or charge the brush with water to make a wash effect.
• To avoid eroding ImagOn-Rapid film, do not exceed: 8 minutes for the mild solution, 4 minutes for the medium, and 2 minutes for the strong solution. ImagOn-PRO is 1.5 times thicker so the spit-bite can remain almost twice as long.
• Rinse the plate with cool tap water (third photo).
• Spray with vinegar (fourth photo). Rinse. Pat dry with a paper towel (bottom photo). Heat dry.
• Leave the plate in the sun for 30 minutes or expose it in the platemaker for the same amount of time as a standard aquatint exposure. Set aside overnight before inking and printing.
• If areas print too light, rework the plate with more spit-bite solution in the same manner.

• Make a standard aquatint screen exposure with a prepared ImagOn plate. Do not remove the Mylar!
• On the Mylar, mark shapes for removal (optional). Cut shapes in the Mylar for removal (top photo); do not cut through the emulsion.
• Oxygen affects emulsion. Remove the cut Mylar shapes only after all are cut. Lift the cut Mylar shapes with a small piece of packing tape (second photo). Leave the remaining Mylar in place.

• Immediately tray develop the plate; areas with Mylar in place will not develop. Rinse; apply vinegar; rinse; pat dry; heat dry. The third photo is the developed plate.

• Remove the remaining Mylar. Apply spit-bite, working from mild to strong. Protect developed shapes from open bite with Vaseline, if desired. The fourth photo is the plate with spit-bite.

• Spit-bite dissolves screenfiller so complete spit-biting before applying screenfiller. To integrate the rich black areas with the white, consider outlining the cut stencils with screenfiller or softening their edges with spit-bite. The bottom photo is the plate with screenfiller applied.

• Cut a section of single-sided 0.003 drafting Mylar and position with the emulsion side (i.e., matte, dull side) facing up.
• Sponge water on the drafting Mylar.
• Begin drawing with the black pastel on the drafting Mylar (top photo).
• Work back and forth, wet and dry: create a wash in areas by dropping water from a sponge onto the drawing; create lighter tones by rubbing with a sponge, kneaded eraser, vinyl eraser (second photo) or paper towel; create darker tones by drawing back in with charcoal.

• Set the drawing aside to dry if it is still wet. The third photo is the completed pastel drawing.
• Make an ImagOn test plate to determine the best exposure.
• Make a standard aquatint screen exposure.  Remove the aquatint screen.

• Place the drafting Mylar emulsion-to-emulsion on the ImagOn plate. Make an image exposure for the pastel drawing (bottom photo).
• Follow standard procedures for developing, inking and printing the plate.

• Make a line drawing with 2B and 4B graphite on single-sided .003 drafting Mylar.
• Make a step-test of image exposure with one laminated plate.   
• Develop, ink, and print the step-test in the standard manner. Determine the best quantity of light units.
• Make an image exposure of the remaining laminated ImagOn plate with the line drawing emulsion-to-emulsion.
• Tray develop the plate. Rinse. Spray vinegar. Rinse. Pat dry with a paper towel. Heat dry, sun dry, and/or expose on the platemaker for the quantity of light units required for a standard aquatint exposure. Set aside overnight before printing the plate.

• Open Photoshop (or other photo-manipulation software). Make a new file the size and resolution desired with a White background. Save as a tiff file.
• Select the Text Tool in the Toolbox. Choose a color and font for the text. The font for the text in the examples here was Black Arial Font 12, which does not require an aquatint screen exposure because it is finer than 1/8th inch.
• Type a line of text. Leave the Text Tool; flatten the image.
• Return to the Text Tool. Write a line of text. Select the Move Tool. Move the text close to the previous line. Flatten the image: Layers, Flatten Image. Save.
• Continue writing with the Text Tool, moving the text, flattening the image, and saving the file until the image is completed.
• Do not change the levels on the image if using Black font. Print on a transparency with an inkjet printer.
• Make a step-test plate with a laminated ImagOn plate to determine the best image exposure. Text generally requires a slightly longer exposure than an aquatint screen. Based on the step-test, make an image exposure of the text.

• Begin with a continuous-tone black-and-white or CMYK photograph, such as the digital image in the top photo.  If the image is digital, open it with Photoshop (or other photo-manipulation software) and change the Mode to Grayscale. Otherwise, scan the image and import it into Photoshop.
• In Photoshop, adjust the image as desired. The image in the bottom photo is derived from the CMYK image in the top photo. The image was cropped and the sliders below the histogram in Levels were moved to include black and white tones.
• Option 1: photocopy the black-and-white photo with opaque black ink on a photocopy transparency; be sure the image is dense enough.
• Option 2: print the manipulated image on an inkjet transparency with an inkjet printer.
• Make a standard aquatint screen exposure on the laminated ImagOn test plate.
• Make a step-test image exposure with the transparency positioned emulsion-to-emulsion on the test plate. Develop and print to determine the best image exposure.
• Make a standard aquatint screen exposure on the second laminated ImagOn plate.
• Make the image exposure with the transparency positioned emulsion-to-emulsion on the plate.
• Tray develop in the standard manner. Rinse, spray with vinegar, rinse, dry, heat dry. Expose the plate without a stencil for the same quantity of UV light as the aquatint screen exposure. Set the plate aside overnight.
• Ink and print the plate.

• In Photoshop, make a new file and name it density test: File, New
• This brings up the menu shown in the figure top right. Name the file and complete the options as shown in the menu. The dimensions shown here assume a transparency size 8½ x 11 inches.
• Make sure the foreground and background colors at the bottom of the Toolbox are the default: black foreground and white background.
• In the Command Menu, click on Select. This brings up a drop-down Menu; click All.
• Select the Gradient Tool in the Toolbox and the Linear Gradient in the Options Bar. Draw a straight line from the top to the bottom. This produces the gradient shown in the figure opposite.

• In the Command Menu, select Image. This brings up a drop-down Menu; select Posterize, which brings up a pop-up menu. Change the Levels to 21. This produces the distinct gradients shown in the figure opposite.
• In the Command Bar, choose Select. This brings up a drop-down menu; click on Deselect.
• In the Toolbox, select Text.
• Label each distinct gradient, from 100% at the top bar to 0% at the bottom bar. The file should now look like the second figure. Note that the text is in white for the dark tones and black for the light tones to facilitate easy reading.
• Save the file.

• Print the dot structure density test on the emulsion side of the transparency with the inkjet printer you plan to use for photo stencils. Set the printer to best quality, Black. If the printer has the option, print with two cartridges of matte black ink. To print AZON 787N Clear Graphic Film in the Epson PRO 7600 Inkjet Printer: Select the printer and film size; in Print Settings, select Black, Adhesive Vinyl, Advanced (uncheck all boxes), 720 dpi.

• Examine the transparency with loupes to determine where the dot structure is 80% random black dots (bottom photo).

• When manipulating photos in Photoshop, plan to move either the Levels or Curves to change 100% black to the percentage that produces the 80% random black dots; OR

• Position the transparency on the laminated ImagOn plate emulsion-to-emulsion at the platemaker.
• Expose the transparency with the light units required for the standard aquatint screen exposure.
• Develop and print the plate.
• Examine the print for the blackest black; this could be anywhere from 85% to 55%. The blackest black is the 80% random dot structure. In Photoshop, move either the Levels or Curves to change 100% black to the percentage that produces the blackest black for the transparency and printer combination.

• Open the original photo file and save as a new tiff file in a new folder to preserve the original file. Work only with the duplicate file.
• Change the size to fit the transparency: Image, Image Size, uncheck Resample Image, as in the top right figure. Fill in the inches. Click OK.
• Change the resolution so it is at least 1/4th the printer output, 720 on the Epson PRO 7600 (some say 1/6th or 120): Image, Image Size. Check Resample Image, Bicubic, and Constrain Proportions, as in the second figure, right. Change the resolution in steps, as 111.889 to 150 dpi and then 180 dpi. Save as a new file.
• Crop the image if it improves the image or if needed to fit the transparency: Select with a Marquee Tool; then Image, Crop.
• Straighten any angled lines: Select, All; Edit, Transform, Skew.
• Straighten the image if needed: Image, Rotate, Arbitrary, and then fill in degrees and CW or CCW.
• Change the Mode to black-and-white: Image, Mode, Grayscale. Save as a new tiff file.
• Improve the contrast: Image, Adjustments, Levels. Move the sliders as needed to get black and white. In the bottom figure, the black slider below the histogram would be moved to the right. Save as a new tiff file.
• Magnify the image with the Zoom Tool in the Toolbox to remove defects with the Clone Tool or Band-aid Tool. Save as a new tiff file.

• If the image was scanned, sharpen the image in increments; do not sharpen digital camera images. To sharpen: Filter, Sharpen, Unsharp Mask, check Preview so you can see the effect. Use 25-50%, 1-3 Radius, 0-2 Threshold, as shown in the figure opposite. Save as a new tiff file. If needed, repeat these steps and save as another new tiff file and add "fixed" to the title.
• Use the Zoom Tool to return the image to a size that fits the screen.

• The easiest way to lower the density of blacks is in Curves: Image, Adjustments, Curves; then drag the black diagonal to the percentage determined by the dot structure density test. In the second figure, right, the diagonal was moved to 80% since the best black printed at 80% for Azon 787N Clear Graphic Film in an Epson PRO 7600 Printer. In my experience, the light tones drop out also, so the diagonal is also moved to 15% to leave some dots in the whitest whites.
• Save the file with the title "ready".
• Set the printer to best quality, Black. If the printer has the option, print with two cartridges of matte black ink. To print AZON 787N Clear Graphic Film in the Epson PRO 7600 Inkjet Printer: Select the printer and film size; in Print Settings, select Black, Adhesive Vinyl, Advanced (uncheck all boxes), 720 dpi.
• Print on the emulsion side of the transparency. Be careful handling the transparency to avoid fingerprints that could block light.

• When working with layers, note which edge is the top of the image on each plate at all times so the plates are layered as planned.
• The print was produced by exposing a laminated ImagOn plate with the text stencil in the top photo; Arial Font 12 does not require an aquatint screen exposure since the font is smaller than 1/8 inch.
• For the print, the taped plate was exposed with the photo stencil (right), which was previously manipulated in Photoshop (Curves 80% and 15%) to avoid an aquatint screen exposure; the photo was printed on an Azon 787N transparency with an Epson 7600 inkjet printer. The two plates required different amounts of UV light.  
• After both plates are exposed, remove the Mylar from the laminated ImagOn plate. Remove the protective backing from the taped ImagOn plate.
• Spray water on the exposed film of both plates.
• Position the loose film on the laminated plate with the Mylar side facing up.
• Squeegee the top layer of film. Rub with a cloth.
• Run the layered plate through the press to facilitate bonding.
• Tray develop the plate in the standard manner. Rinse; spray vinegar; rinse; dry the plate.
• Apply spit-bite solution to the top layer wherever the lower layer should show through.  
• Rub the spit-bite areas with a sponge to facilitate removal of the top layer. Rinse; spray with vinegar; rinse; dry.
• Make a proof print. The bottom photo shows the plate after the first application of spit-bite.
• If not enough of the lower image is visible, apply more spit-bite. Note: it takes longer for spit-bite to eat through light tonal areas than dark tones. 

• For the print the laminated plate was exposed with the photo stencil (above right), which was previously manipulated in Photoshop (Curves 80% and 15%) and printed on an Azon 787N transparency with an Epson 7600 inkjet printer to avoid an aquatint screen exposure.
• The taped plate was exposed with the text stencil in the second photo; Arial Font 12 does not require an aquatint screen exposure since the font is smaller than 1/8 inch. The two plates required different amounts of UV light.   
• After both plates are exposed, remove the Mylar from the laminated ImagOn plate. Remove the Mylar and the protective backing from the taped ImagOn plate.
• Spray water on the top of the laminated plate and the underside of the taped plate.
• Tear and wrinkle the loose film onto the laminated plate. Flatten the wrinkled film.
• Cover the wrinkled plate with Mylar.
• Run the wrinkled plate through the press to facilitate bonding. The bottom photo is the wrinkled plate after being run through the press.
• Tray develop the wrinkled plate in the standard manner. Rinse; spray vinegar; rinse; dry the plate.
• Optionally, apply spit-bite solution to the wrinkled layer to reveal more of the lower image.

• Begin by cutting a few pieces of ImagOn and removing their protective layers.
• Laminate the pieces to the plate individually with a squeegee. The top photo shows a couple of pieces laminated to the prepared plate.
• Remove the Mylar from the laminated pieces before overlaying more ImagOn pieces to the plate (second photo).
• Continue overlaying as desired, laminating each piece with a squeegee and removing the Mylar. It is not necessary to cover the entire plate with pieces.
• After all pieces have been layered, cover the plate completely with a reserved Mylar at least as large as the plate (third photo).
• Run the plate through the press to facilitate bonding. Leave the plate overnight.
• Expose the pieced plate with a text stencil. The text stencil used here is Arial Font 12; the lines are finer than 1/8 inch so an aquatint screen exposure is not needed prior to the image exposure with this text stencil (bottom photo).
• Tray develop the exposed plate in the standard manner. Rinse; spray with vinegar; rinse; dry; heat dry. Expose the plate without a stencil for the same amount of time as an aquatint screen exposure.  Set the plate aside overnight before printing.

• Begin by cutting a few pieces of ImagOn and removing their protective layers.
• Laminate the pieces to the plate individually with a squeegee.
• Remove the Mylar from the laminated pieces before overlaying more ImagOn pieces to the plate.
• Continue overlaying as desired, laminating each piece with a squeegee and removing the Mylar. It is not necessary to cover the entire plate with pieces.
• After all pieces have been layered, cover the plate completely with a reserved Mylar at least as large as the plate.
• Run the plate through the press to facilitate bonding. Leave the plate overnight.
• Make a standard aquatint screen exposure if needed for the photo stencil.
• Make the image exposure with the photo stencil. The photo stencil shown above was previously manipulated in Photoshop to avoid the aquatint screen exposure: Curves were changed to 80% and 15% and the photo was printed onto an Azon 787N transparency with an Epson 7600 inkjet printer.
• Tray develop the exposed plate in the standard manner. Rinse; spray with vinegar; rinse; dry; heat dry. Expose the plate without a stencil for the same amount of time as an aquatint screen exposure.  Set the plate aside overnight before printing.

• Cut ImagOn-Ultra pieces and adhere to a prepared plate, leaving open areas. Remove the Mylar from the pieces before overlapping more pieces. Laminate each individual piece to the plate with a squeegee.

• Cover the entire plate with a large piece of set-aside Mylar and press laminate the plate.

• Make a standard aquatint screen exposure.

• Place flat objects on the construction ImageOn plate, such as the gloves and spuds and torn tarlatan with loose threads. Make a standard image exposure for flat objects.

• Remove the Mylar and tray develop according to standard development procedures.

• Sprinkle the plate with water to add more pieces of ImagOn, if desired. Remove the Mylar layers before overlapping and laminate each individual piece with a squeegee as you go. Again, press laminate with a large Mylar in place before another exposure with the aquatint screen followed by exposure with more flat objects. Remove the Mylar and hand develop.

• The top photo is a proof print made after two rounds of exposure and development.

• Again, sprinkle the plate with water to add more pieces of ImagOn, if desired. Remove the Mylar layers before overlapping and laminate each individual piece with a squeegee as you go. Again, press laminate with a large Mylar in place before another exposure with the aquatint screen followed by exposure with more flat objects. Remove the Mylar. Hand develop with standard spit-bite procedures.

• The second photo is a proof print made after three more rounds of exposure and hand development with spit-bite procedures.

• The bottom photo shows the print after further spit-bite development, cutting away layers of film and drypoint to increase blacks.

• Turn the printmaking hot plate on and set the temperature to 110°F ahead of time. The temperature should not become too hot for finger touching.
• Pour a small amount of Gum Arabic into a small container.
• Remove the Mylar from the unexposed ImagOn plate and place the ImagOn plate on the hot plate.
• Brush Gum Arabic on the unexposed photopolymer selectively or over the entire plate (top photo). The thinner the application of Gum Arabic, the quicker it dries and the finer the crackle.
• Crackles will be visible when the Gum Arabic dries. Remove the ImagOn plate from the hot plate.
• Tray develop the ImagOn plate in the standard manner: 9 minutes in developer, rinse, rub with vinegar, rinse, pat dry, heat dry, leave overnight to harden.

• Turn the printmaking hot plate on and set the temperature to 110°F ahead of time. The temperature should not become too hot for finger touching.
• Pour a small amount of Gum Arabic into a small container.
• Expose the laminated ImagOn copper plate with the standard exposure for an aquatint screen.
• Tray-develop the plate in the standard manner; rinse; spray vinegar; rinse; dry.
• Spray the plate with water.
• For Construction Crackle Intaglio-Type, apply pieces of ImagOn to the plate, removing the Mylar after laminating each piece with a squeegee.
• Cover the entire plate with Mylar or the protective film backing. Run the plate through the press to adhere the construction pieces to the bottom aquatint-exposure layer.
• Do not expose the construction plate. Remove the Mylar.
• Brush Gum Arabic on the construction plate but not on the aquatint-exposed bottom layer.
• Heat the construction plate until the Gum Arabic dries. Remove the construction plate from the hot plate.
• Hand-develop the construction layers with spit-bite solutions (above). Rinse; spray vinegar; rinse; dry; heat dry. Leave overnight before printing.

• Manipulate the photograph in Photoshop as desired; end by changing the Mode to Grayscale and the Curves to 80% and 15% to avoid the necessity for an aquatint screen exposure. Print a transparency.
• Turn the printmaking hot plate on and set the temperature to 110°F ahead of time. The temperature should not become too hot for finger touching.
• Pour a small amount of Gum Arabic into a small container.
• Expose the laminated ImagOn copper plate with the standard exposure determined for the photo stencil.
• Place the exposed ImagOn plate on the hot plate. Protect the exposed ImagOn plate from direct sunlight by propping a cookie sheet against the hot plate if necessary.
• Brush Gum Arabic thinly on the plate for a fine crackle.
• When the Gum Arabic is dry, tray-develop the plate for 8½ minutes. Rinse; spray vinegar; rinse; dry, heat dry. Expose the plate without a stencil for the same amount of time an aquatint screen exposure requires. Leave the plate overnight before printing. 
  

• Manipulate the photograph in Photoshop as desired; end by changing the Mode to Grayscale and the Curves to 80% and 15% to avoid the necessity for an aquatint screen exposure. Print a transparency. The photo (right) has been manipulated in Photoshop, including the Mode and Curves changes in preparation for use as a photo stencil.
• Turn the printmaking hot plate on and set the temperature to 110°F ahead of time. The temperature should not become too hot for finger touching.
• Pour a small amount of Gum Arabic into a small container.
• Expose the laminated ImagOn copper plate with the standard exposure determined for the photo stencil.
• Place the exposed ImagOn plate on the hot plate. Protect the exposed ImagOn plate from direct sunlight by propping a cookie sheet against the hot plate if necessary.
• Brush Gum Arabic thinly on the plate for a fine crackle.
• When the Gum Arabic is dry, tray-develop the plate for 8½ minutes. Rinse; spray vinegar; rinse; dry, heat dry. Expose the plate without a stencil for the same amount of time an aquatint screen exposure requires. Leave the plate overnight before printing.

• Position the plate on clean newsprint on the press bed.

• Position torn or cut paper on the plate in selected areas.

• Run the paper-stencil-plate sandwich through the press once. At this point, the final print would appear white where the stencil is located.

• To produce a ghost image, hold the printing stock in place by bricking (i.e., positioning a weight on the print at the end farthest from the press rollers) as in the top photo.

• Fold the end of the print closest to the rollers over the brick (second photo).

• Remove the stencil from the printing stock by lifting from one corner (third photo).
  

• The stencil is totally removed in the fourth photo.

• Carefully reposition the printing stock over the plate (fifth photo). Remove the brick.

• Run the plate and printing stock through the press a second time, but without the stencil for the second run-through. A lighter ink now appears where the stencil was removed.

• Make a dauber for each color by rolling the felt tightly and securing it with cord or packing tape; or make a dollie by making a ball with rag material and tying a cord around the ball.

• Apply the lightest ink color to selected areas of the plate with a dauber. Red ink has been applied to two areas of a Mezzo-Type plate in the top photo.

• Remove excess ink with pellon and/or newsprint (second photo).

• Apply the second (or next lightest) ink color to selected areas with a second dauber. Remove excess ink with pellon and/or newsprint, blending colors where they meet. The third photo is the Mezzo-Type plate inked with red and black in distinct areas.

• If more colors are intended, continue in the same manner.

• Print the plate. The bottom photo shows the two-color print being lifted from the plate.

• Open the original photo file and save as a new tiff file in a new folder to preserve the original file (top right photo). Work with the duplicate file.
• Change the size to fit the transparency: Image, Image Size, uncheck Resample Image. Fill in the inches. Click OK.
• Change the resolution so it is at least 1/4th the printer output, 720 on the Epson PRO 7600 (some say 1/6th or 120): Image, Image Size. Check Resample Image, Bicubic, and Constrain Proportions, as in the top right figure.
• Crop the image if it improves the image or if needed to fit the transparency: Select with a Marquee Tool; then Image, Crop.
• Straighten any angled lines: Select, All; Edit, Transform, Skew.
• Straighten the image if needed: Image, Rotate, Arbitrary; fill in degrees and CW or CCW.
• Improve the contrast: Image, Adjustments, Levels. Move the sliders as needed to get black and white. Save as a new tiff file.
• Adjust the midtones: Image, Adjustments, Curves. Move the diagonal as needed.
• Adjust saturation and/or lightness: Image, Adjustments, Saturation; move the sliders as needed to improve the image. If the image was scanned, sharpen the image in increments; do not sharpen digital camera images, such as this image. To sharpen: Filter, Sharpen, Unsharp Mask, check Preview. Use 25-50%, 1-3 Radius, 0-2 Threshold. Save as a new tiff file. If needed, repeat these steps and save as another new tiff file.
• Magnify the image with the Zoom Tool in the Toolbox to remove defects with the Clone Tool or Band-aid Tool. Save as a new tiff file.
• Change the mode: Image, Mode, CMYK. Save as a new tiff tile.

• To create a border, select Black as the foreground color in the Toolbox. Select, All. Edit, Stroke. In the drop-down menu: select Inside, Blending Normal, 100%.
• Obviate the need for an aquatint exposure by lowering the density of blacks in Curves: Image, Adjustments, Curves; then drag the black diagonal to the percentage determined by the dot structure density test. The best black prints at 80% for Azon 787N Clear Graphic Film in an Epson PRO 7600 Printer.
• To assist registration when K will be the last color printed, feather the edges in the CMY Channels: Select CMY Channels; Filter, Blur, Gaussian Blur, .5; Filter, Noise, Add Noise, .5 Gaussian. Save as a tiff file.
• Split the Channels: Channels, Split Channels. Four grayscale files pop up, as shown. Initial each file the appropriate color with the Text tool. Save the four files.

• Set the printer to best quality, Black. If the printer has the option, print with two cartridges of matte black ink. To print AZON 787N Clear Graphic Film in the Epson PRO 7600 Inkjet Printer: Select the printer and film size; in Print Settings, select Black, Adhesive Vinyl, Advanced (uncheck all boxes), 720 dpi.
• Print on the emulsion side of the transparencies. Be careful handling the transparencies to avoid fingerprints that could block light.
• Label each ImagOn plate with CMY or K and make an arrow in the lower left "key" corner of each plate. Expose each plate with its corresponding transparency. Develop; rinse; spray vinegar; rinse; dry; heat dry. Set aside overnight.

• Trace a plate near one end of a long sheet of paper; this becomes a template for registration.

• Tear a long sheet of paper. Cut four pieces of tissue paper slightly larger than the plates.

• Ink each plate with its associated color (photo opposite). Use a separate pair of gloves for each color for inking and wiping.

• Place the yellow plate on a cut tissue paper. Register the lower left corner of the yellow plate on the template through the tissue. Run the paper, tissue and template through the press but keep the end of the paper and template trapped under the press roller. Lift the paper and tape to the press. Remove the yellow plate and its tissue.

• Position the red plate on a cut tissue paper. Register the lower left corner of the red plate (opposite). Run the plate through the press twice without loosening the printing stock. Lift the paper and tape to the press. Remove the red plate and its tissue.

• Position the cyan plate on a cut tissue paper (opposite). Register the lower left corner and print as before. Lift the paper and tape to the press. Remove the cyan plate and its tissue.

• Position the black plate on a cut tissue paper (opposite). Register the lower left corner and print as before. Lift the paper and tape the final print to the press. Remove the black plate and its tissue.

• Loosen the press and remove the final print and the template paper.
  

• Soak the paper for 15 minutes or work from a wet pack prepared a day ahead.
• Ink and wipe the four exposed and developed ImagOn CMYK plates wearing separate gloves for each color (top).

• Calendar the printing stock: place the dampened sheet of printing stock on the press and run it through a press with a clean sheet of paper on top. Remove the protective paper.
• Position the yellow plate face-side-down on the calendared stock (second photo). Cover the stock and plate with paper. Run through the press.

• Remove the protective paper. Lift the yellow plate from the paper (third photo).

• Wearing the headlight to aid positioning, place the red plate face-side-down on the printing stock in alignment with the yellow image (fourth photo). Cover the stock and plate with paper. Run through the press.

• Remove the protective paper. Lift the red plate from the paper (fifth photo).

• Wearing the headlight to aid positioning, place the cyan plate face-side-down on the printing stock in alignment with the yellow-red image (sixth photo). Cover the stock and plate with paper. Run through the press.

• Remove the protective paper. Lift the cyan plate from the paper (seventh photo).
  

• Wearing the headlight to aid positioning, place the black plate face-side-down on the printing stock in alignment with the yellow-red-cyan image (eighth photo). Cover the stock and plate with paper. Run through the press.

• Remove the protective paper. Lift the black plate from the paper (ninth photo).

• The bottom photo is the 18 x 24 inch final print produced with CMYK digital-halftone transparencies and printed with the 4-Color Inversion method.

• Cut one or more shapes from contrasting paper.
• Position the cut shape(s) on the adhesive side of the PMA roll; cover with the supplied cover sheet. Squeegee with the supplied squeegee to adhere the shape(s) to the adhesive (top photo).
• Remove the cover sheet (second photo).
• Lift the adhesive-backed shape(s) from the PMA support sheet (third photo).
• Position the shape(s) on the plate with the adhesive side up OR position directly on the printing stock with the adhesive side down and push down as needed for printing with a P.E.T.G. plate (fourth photo).
• Position the plate on the printing stock. Run the plate, shape(s) and printing stock through the press.
• Lift the plate from the print (bottom right photo).
• The photo at bottom left shows the 16 x 20 inch print produced with the images shown here.

• Brush one or more concentrations of developer onto the single layer of a developed, dried plate in the area requiring a richer black or onto the upper layer of ImagOn where areas need to be removed on a Layered-Type or Wrinkled-Type ImagOn plate.
• When the developer turns light blue, rinse the plate with cool tap water.
• Reapply as needed and rinse with cool tap water after each application.
• Spray the plate with vinegar to stabilize it.
• Rinse the plate with cool tap water.
• Heat dry the plate with a commercial hand drier or heat gun.
• Sun dry the plate for 30 minutes or expose it without a stencil for the length of time used for the standard aquatint exposure.

• Add a small amount of screenfiller to a container.
• Stir in carborundum grit to the desired consistency; for the richest black, add enough grit to make the mixture the consistency of oil paint, slightly thicker than cream.
• Paint the mixture directly onto a prepared plate or onto an ImagOn plate. Be sure the mixture is completely dry before proceeding.
• Apply Spit-bite over Liquid Aquatint to remove undesired areas; rinse with water; spray vinegar; rinse again. Be sure the Liquid Aquatint is dry before proceeding.
• Rework screenfiller over dry Liquid-Aquatint to introduce lighter tones if desired. Dry the plate.
• When all reworking is complete and the plate is completely dry, print the plate.

• Apply screenfiller to the ImagOn plate with a brush, toothbrush or eyedropper. Rinse off after the screenfiller partially dries, if thin lines are desired. Be sure the plate is completely dry before proceeding.
• Apply more screenfiller, if desired, alone or alternately with Liquid Aquatint or Spit-bite, drying between applications.
• When reworking is complete and the plate is dry, print the plate.

The top photo is the plate worked initially with drypoint and Mezzo-Type on the aquatinted ImagOn film and directly on the plate. Film edges were randomly lifted with masking tape.

The second photo is Stage 2 of the same plate reworked with Spit-bite, drypoint, and Mezzo-Type.

The third photo is Stage 3 of the same plate reworked with the same three techniques.

The photo below is Stage 4 of the same plate reworked with Spit-bite and drypoint.

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• Pour 4 liters ferric chloride solution in a tray or tank.
• Pour 750 ml hot water in a measured liter container.
• Add 250 grams citric acid crystals to the hot water; the water will rise to 1 liter.
• Stir until the crystals totally dissolve; without stirring they will not dissolve, and will leave dots on the etching plates.
• Pour 1 liter of citric acid solution slowly into 4 liters of ferric chloride, gently stirring.
• Remove the sting of new Edinburgh Etch by adding 1 cup old solution or dissolving a small piece of copper in the tank overnight.

• Exhausted Edinburgh Etch is slightly acidic so must be neutralized as well as diluted before pouring down the drain to avoid affecting copper plumbing pipes. Concentrated ions are also a marine pollutant.
• Dilute exhausted solution in a bucket with water.
• Sprinkle sodium carbonate (also called soda ash or washing soda) to neutralize the diluted solution. Stir with a wooden stick.
• CO2 gases form as the solution foams; let the solution sit until the foam subsides.
• Flush the neutralized solution down the sink drain with running tap water - it is mostly iron oxide after dilution and neutralization.

• Purchase a vertical etching tank (or choose any polypropylene tub deeper than the height of the plate from a local hardware store).
• Purchase a mid-size (or larger) double-tubed aquarium pump, tubing and two one-way valves from a pet store.
• Set the pump on a flat surface near the vertical etching tank and near an electrical outlet.
• Cut two tubes long enough to reach from the pump, travel down the sides of the tank and extend to the center bottom of the tank.
• Attach a one-way valve to each tube.
• Tape the tubes on the side and bottom of the tank so tube ends rest on the bottom of the tank.

• Pour 500 ml heated water in the measured liter container.
• Add sodium chloride to the 750 ml mark and stir to dissolve the salt crystals.
• Add vinegar to the 1 liter mark.
• Pour into the labeled tray or container.

• After removing a plate from Edinburgh Etch (or ferric chloride), rinse with water.
• Dip the plate in de-oxidizing solution for approximately 1 minute.
• Remove the plate and rub it gently with a sponge. Dip again. Note: skip this step for a plate with soft ground or aquatint resist.
• Rinse quickly to avoid oxidation.
• Pat dry immediately, then dry thoroughly under hot air or on a hot plate.  

• Pour 800 ml heated water into a measured liter container.
• Add anhydrous sodium carbonate to the 1 liter mark. Stir to dissolve the soda carbonate.  
• Pour the solution into a labeled polypropylene tank or tub.
• Insert the etched plate to strip the resist.
• After stripping, remove the plate. Rinse well with water. Pat dry; heat dry if desired.

• Roofing copper does not need to be beveled. Bevel the edges of a new thicker plate with a deburring tool (or file, scrape and burnish) to avoid harming the press.
• Soften the sharp corners of a new plate with a bastard file.
• Plate scratches show in the print. Remove all scratches with the circular motion of a palm sander fitted with 600-grit wet-dry sandpaper. For deep gouges, use 400-grit sandpaper and follow with 600-grit sandpaper. Work wet to avoid the health hazard of creating dust.
• Rub the plate with fine steel wool to smooth sanding marks.
• Resists will not stick to grease or oil, including fingerprints. Rub bonami (which does not contain bleach so is kinder to the environment) or Ajax or Comet with a pot scrubber to degrease the plate. Rinse well. The water should flow equally everywhere. If not, degrease and rinse until no oil remains. 
• Dry the plate with a paper towel; avoid touching the degreased surface.
• Some printmakers cover the back of the plate at this point; others wait until after the resist has been applied.
• To protect the back of the plate when etching, cover it with self-adhesive shelf liner or overlapped packaging tape, as in the top photo.
• Make a long suspension hanger with packaging tape and attach it to the back of the plate, as in the middle photo.
• Remove excess with a blade, as in the bottom photo.

• Leave ImagOn-resist plates overnight. Heat acrylic-resist plates on a hotplate set at Low for 20 minutes or until all acrylic is dry. Do not heat fat- or wax-resist plates.
• Suspend the plate in the vertical etching tank with the resist side facing the solution, (top photo).
• Attach the packaging-tape hanger to the etching tank with a clothespin (second photo).
• With a permanent marker, write your initials and the insertion time at the top of the hanger.
• Turn on the aerator; do not use aeration for soft-ground or aquatinted plates.
• Wear gloves and goggles at all times when handling plates coated with etchant.
• Lift the plate periodically to check the depth of etching, as in the bottom photo. As the etchant ages, more time will be required for the same depth.
• Deoxidize the plate after each removal from the Edinburgh Etch and reinsert as needed for image development.
• When etching is the desired depth, remove from the etchant. Rinse the plate.
• Sponge the plate with bonami or dish detergent to begin removing the ground. Rinse.
• Strip the ground from the plate in stripping solution.
• When all ground is stripped from the plate, rinse the plate. Blot dry. Heat dry for 15-20 minutes on Low.

• Mix in a bucket equal parts of anhydrous copper sulfate and sodium chloride by volume.
• Mark the total height of the mixed powder.
• Add 4 times as much hot water as powder - further dilution slows etching.
• Stir well to dissolve powders in the hot water.

• To ensure all copper ions are drawn out, put zinc strips in the spent solution overnight.
• Neutralize the spent solution with sodium carbonate (i.e. soda ash or washing soda).
• Dilute with water.
• Run tap water while pouring the diluted, neutralized solution down the drain.

• Acrylics adhere better when metal plate surfaces are sanded and then degreased.
• Heat metal plates after applying acrylic resists to speed bonding of the monomers into polymers.
• Strip acrylics from plates by inserting the plates in a solution of sodium carbonate (1 sodium carbonate: 4 hot water) - the same stripping solution used for ImagOn plates. Most plates also require some scrubbing. Saponification turns the acrylic to soap, which can be flushed down the drain.

• Lay out and blend with a spatula on the inking surface: 3 parts Graphic Chemical Carnation Red relief ink, 1 part Lascaux Acrylic Transparent Varnish 2060, 1 part Lascaux Screenprinting Paste 2049 (an acrylic) to make Orono soft ground medium. Place a tiny bead of Orono on the inking surface, and charge the brayer or roller (top photo).
• Roll over the plate, recharging as needed. The roll-out should cover the surface smoothly and quietly. Several thin layers are better than one thick layer. Vary roll out direction to reduce lap marks. Produce plate coverage of 80-90% so the copper barely shows through.  
• Work quickly to position textured objects before the soft ground dries (approx. 20 minutes).
• Cover with plastic wrap sprayed lightly with Pam (second photo) and newsprint. Set press pressure one turn less than normal.
• Run through the press once. Carefully remove a corner of plastic wrap and gently lift an object (third photo); if no impression appears, increase the pressure slightly and run through the press again. Copper MUST be visible to etch!! The plate should show texture impressions and a thin layer of ink should show on objects.
• Carefully remove objects with blade or tweezers to preserve the exactness of impressions. Add hand-pressed textures at this point, such as a handprint or cardboard with 1 side removed (bottom photo). Heat dry on a hot plate for 1 hour. Etch according to standard procedures with aeration. Clean the roller with Dawn and cold water.

• Spread a bead of water soluble relief ink on the inking palette with the spatula. 
  

• Charge the roller. Avoid rolling out so much ink that a smacking sound is produced. The roll-out should cover the surface smoothly and quietly.

• Roll over the plate 2-3 times, recharging as needed. Several thin layers are better than one thick layer. Varying roll out direction reduces lap marks.

• Produce plate coverage of 80-90% so copper barely shows through. For multiple-plate printing, do not let any copper show through to maintain whites and roll out one plate at a time.

• Place the drawing or photo on the plate and quickly transfer the drawing to the plate with the pencils.

• Check the back of the plate periodically to be sure pencil marks are lifting soft ground. The bottom photo is the underside of the drawing with the lifted Black #1659 soft ground.

• Dry on a hot plate for at least one hour.

• Meanwhile, wash the brayer and spatula with Dawn in cool water; hot water sets the ink.

• Add a suspension handle and etch according to standard procedures. To avoid reactivating the ink, do not use the bubbler for aeration.

Hard and Soft Ground

• Future does not adhere well to an unsanded plate so this step is especially important.
• Add a small amount of black air brushing ink to the Future (India ink is shellac based).
• Pour Future over the top edge of a plate, as in the top photo.
• Drain on a paper towel for a few minutes and then prop the plate against the wall on a towel, as shown in the middle right photo; or dry the plate flat on a hot plate.
• When the Future is dry, cut through the hard ground to create the desired imagery, as in the bottom photo. Note: the longer Future dries, the harder it becomes and the more it tends to chip.
• Add a suspension handle and etch for 22+ minutes in aerated Edinburgh Etch.
• De-oxidize, rinse, pat dry, dry on a hot plate at Low for 20 minutes.
• Remove the handle. Print with the Future in place to proof the plate. If some areas need more etching, make more marks and/or add Crisco to protect areas for a second etching.
• Rinse, dry, de-oxidize, rinse, dry, heat dry on a hot plate at Low.
• Print. The plate has the brightest whites and deepest blacks with Future in place.
• Remove the ink with magnesium carbonate.
• Place the plate in sodium carbonate stripping solution (1 part sodium carbonate : 4 parts hot water) to remove the hard ground.
• Print again. The plate has plate tone in the non-etched areas.

Hard and Soft Ground

• Work in a ventilated spray booth with the ventilation on (or wear a mask). See the set-up at the right.
• Prop the backboard against the back wall of the spray booth.
• Cover the backboard with clean newsprint to enable measuring the mist density.
• Prop the prepared and backed metal plate against the newsprint.
• Place a straight pin nearby in case it is needed to unclog the airbrush.

• Place a small container of soapy water nearby. After each use of the airbrush, insert it in the soapy water and depress the trigger/valve to prevent clogging, as shown (right). Whenever the airbrush is not in use, leave it in the soapy water.
• Shake the chosen acrylic aquatint solution well. Fill the glass jar with the solution.
• Attach the hose to the airbrush and the glass jar to the airbrush. If you do not leave the other end of the hose attached to the air compressor, attach it now.
• Plug in the air compressor and turn it on with the gauge set to 30 psi. The air compressor shown (below) is Sears 125 psi, 1.5 hp, with a 2 gallon reservoir.
• Check the spray on a scrap piece of newsprint placed in front of the metal plate.
• Spray with an even, side-to-side motion, moving slowly from top to bottom. Begin and end each stroke beyond the plate.
• Stop periodically to check the dot density on the plate and newsprint. When 40% - 60% coverage is reached, insert the airbrush in the soapy water and depress the trigger to blow bubbles.
• Lift the plate carefully out of the spray booth and lay it flat to dry on a hot plate for about 20 minutes.
• Clean the airbrush immediately to prevent clogging.

• Return unused acrylic aquatint solution to its container.
• Wash the glass jar and lid in running water.
• Fill the glass jar with the soapy water and reattach the jar to the airbrush.
• Spray onto the newsprint until the jar is almost empty. Then turn the airbrush upside down and continue spraying until the jar is empty.
• Remove the glass jar and continue spraying air until no water comes out in the spray.
• Unplug the air compressor and release any water build up.
• Turn the ventilation off.
• Return all equipment to its proper storage.

• Prepare a copper plate for etching: sand with 600 grit wet/dry sandpaper and degrease.
• Back the plate with overlapping strips of packaging tape and apply a tape handle.
• Spray for a 40% coverage with medium dots; closer than that does not provide enough open space between dots for the blackest blacks. Spray only once! Normally heat dry for 20 minutes but fat cannot be heat dried so let the plate sit for an hour.
• Apply fat with a brush or finger to areas that are to remain white.
• Etch in Edinburgh Etch Solution for 30-40 seconds without the bubbler. Never use a bubbler with this process until the last etch as the sprayed resist is too delicate.
• Remove from etchant and submerge gently in a tray of tepid water to rinse. Pat dry.
• Apply fat to preserve light gray areas. Etch for 2 minutes. Rinse and dry as before.
• Apply fat to preserve slightly darker gray areas. Etch for 4 minutes. Rinse and dry as before.
• Apply fat to preserve even darker gray areas. Etch for 8 minutes. Rinse and dry as before.
• Continue in this manner. Finally, stop out all but the areas to be black.
• Etch in Edinburgh Etch solution to complete a total etching time of 40 minutes.
• De-oxidize. Wash with bonami and warm water to remove the fat stop out; rinse.
• Place in stripping solution to remove the acrylic aquatint resist.
• Wash, rinse, dry, heat dry on a hot plate. The print (right) was made using this method.

• Prepare a copper plate for etching: sand with 600 grit wet/dry sandpaper and degrease.
• Back the plate with overlapping strips of packaging tape and apply a tape handle.
• Spray for a 50% coverage with fine dots; closer than that does not provide enough open space between dots for the blackest blacks. Let the plate dry completely.
• Add stencils to protect areas that should be the darkest and spray again. Repeat as needed for the design.
• Make marks with a China marker, if desired.
• Dip objects in Hunt's Screenfiller, wipe on a sponge, and then apply, e.g., the ends of masking tape rolls. Screenfiller can also be flicked off a toothbrush for a dotted effect. Dry the plate on Low heat.
• Etch in Edinburgh Etch only once - for approximately 40 minutes. Never use a bubbler with this process until the last etch as the sprayed resist is too delicate.
• Remove from etchant and submerge gently in a tray of tepid water to rinse. Pat dry.
• De-oxidize. Wash with warm water to remove as much acrylic as possible.
• Badger Acrylic Aquatint Solution is especially difficult to remove, so strip it from the plate in a strong solution of sodium carbonate (1 part soda ash : 4 parts water by volume).
• Rinse, wash, rinse, pat dry, heat dry. The plate is ready to print.

Aquatint

• Laminate ImagOn-Ultra to a prepared copper plate and heat the plate to promote adhesion. Leave overnight.
• Develop the plate in clean, normal-strength developer; at the end of 7 minutes, wipe the surface with a paint carder.
• Rinse the plate in a tray of water rather than spraying water - this is gentler on the film.
• Rub vinegar to stop development - do not use the squeegee to remove vinegar; hand wipe it off.
• Pat dry; heat the film surface with a hair dryer to improve lamination.
• Rub talcum powder on the film to protect the transparency during the next step; remove excess talcum so only a light coating remains.
• Lay the emulsion side of the halftone transparency on the talc surface of ImagOn-Ultra.
• Expose about 25% - 30% less than the normal image exposure since pre-thinned emulsion does not require as much light to harden it.
• Develop for 2 minutes in regular-strength developer.
• Transfer the plate to clean half-strength developer. Rub gently with a sponge for an additional 30 seconds. Wipe off with a paint carder to remove any tiny bits of ImagOn-Ultra from the plate - they would impede etching.
• Rinse gently in a tray of water; spray vinegar; hand-wipe the vinegar off; pat dry; heat to stabilize the ImagOn-Ultra.
• Back the plate with shelf-liner or packing tape and make a tape handle.
• Etch for 2 minutes; remove and check for a brown color on the plate - a clue that the etchant is working. If the etchant on the plate is brown, etch for approximately 40 minutes, checking periodically.
• When etching is the desired depth, remove from the etchant. Rinse the plate.
• Sponge the plate gently with dish detergent. Rinse. Blot dry. Leave overnight.
• Make a few prints with the plate.
• Strip the ground from the plate in stripping solution.
• When all ground is stripped from the plate, rinse the plate. Blot dry. Heat dry for 15-20 minutes on Low.
• Print again. Note: prints with ImagOn in place will lack plate tone and print with more contrast.

• Adjust Levels to strong contrast (top photo).

• Make the resolution less than 120 ppi (second photo).

• Choose a transparency that makes a hard dot and holds a lot of ink, as Azon 787N.

• Print the inkjet transparency with these settings, if available: Media Type: Ink Jet Back Light Film, Color: Black, Print Quality: Superfine 1440 (never higher than this), Halftoning: Error Diffusion, Microweave: On.

• Lay the emulsion side of the halftone transparency on a prepared laminated ImagOn-Ultra plate. Make an image exposure as usual.
  

• Develop the ImagOn-Ultra plate for 9 minutes in clean, unused developer. Transfer to a second tray of clean developer. Wipe developer with a paint carder to remove any tiny bits of ImagOn from the plate that would impede etching.

• Rinse gently in a tray of water; spray vinegar; hand-wipe the vinegar off; pat dry; heat to stabilize the ImagOn-Ultra. Leave overnight.

• Back the plate with shelf-liner or packing tape and make a tape handle. Etch for 2 minutes; remove and check for a brown color - a clue that the etchant is working. If the etchant is brown, etch approximately 40 minutes, checking periodically.
  

• When etching is the desired depth, remove plate from etchant. Rinse the plate. Strip the ground from the plate in stripping solution. Rinse. Blot dry. Dry on a hot plate on Low.

• Increase contrast in increments (i.e., repeat step 4 times): Filter > Texture > Grain > Regular (See top figure). 

• Convert to a bitmap image: Image > Mode > Bitmap > Method: Pattern Dither and Resolution Output 106 ppi (See second figure). Notes: Bitmap converts a tonal image to graphics so grays are translated as dots without any tonality; this increases contrast. Pattern dither is more random than halftone dither. Any resolution less than 120 ppi works.
• Choose a transparency that makes a hard dot and holds a lot of ink, as Azon 787N.  
• Print the inkjet transparency with these settings, if available: Media Type: Ink Jet Back Light Film, Color: Black, Print Quality: Superfine 1440 (never higher than this), Halftoning: Error Diffusion, Microweave: On.

• Lay the emulsion side of the halftone transparency on a prepared laminated ImagOn-Ultra plate. Make an image exposure as usual. Develop the ImagOn-Ultra plate for 9 minutes in clean, unused developer. Transfer to a second tray of clean developer. Sponge for 30 seconds, or until the plate has some areas without a blue tint. Wipe with a paint carder to remove bits of ImagOn from the plate that would impede etching. Rinse gently in a tray of water; place in a tray of clean vinegar; hand-wipe excess vinegar; pat dry; place on hot plate at Low for 30 minutes. Leave overnight.
• Back the plate and make a tape handle. Etch for 2 minutes; remove and check for brown color - a clue the etchant is working. Etch for approximately 30 minutes, checking periodically. When etching is desired depth, remove plate from etchant. Rinse. Remove the emulsion in stripping solution. Rinse. Blot dry. Dry on a hot plate on Low.