. .ImagOn Process Index

.  ImagOn Techniques 

..Projects   
   
..Schedule   

 . Ink Modifiers   

..Printing    
    
 .Ink Cleanup    

 .Plate Prep    

 .Use of Photocopies   

 . Additives & Cleaners   

 . Olec Exposure Unit   

 .Basic ImagOn Process   
 

Recommended procedure:   

Prepare Plate 
• see Plate Prep Handout
ImagOn can be equally used by those printmakers who wish to etch into a metal plate for the purpose of either reworking the plate with hand etching techniques or for aesthetic qualities associated with open or deep biting of the plate. Although a number of metals and mordents can be used for the Etched Intaglio-Type for the purpose of quality the best results can be achieved by using copper plates which are then etched in ferric chloride. Either engravers copper or roofing copper can be used for this technique.  For the greatest economy I recommend 16 gauge or .022 thickness roofing copper. 
Adhere ImagOn to plate 
see Basic ImagOn Process Handout
Although the ImagOn can be exposed and etched with this original thick layer of ImagOn on the copper plate better results can be achieved by thinning the ImagOn plate before exposing it to the artwork.  The thinner the ImagOn emulsion is on the copper plate the better will be the etch especially in the fine details of an image. One can match the fidelity of an image to the thickness required from the ImagOn to obtain the best results. For simplicity sake if an image is composed from an 85 line halftone or less then thinning of the ImagOn emulsion is not necessary. If the image detail is more than what would be seen in an 85 line halftone then thinning the ImagOn emulsion will be required to resolve all the potential details that need to be in the finished print. Although the 85-line halftone screen is given as a guide it does not mean that other types of hand drawn artwork cannot be used. 
 
Defining Stencils and How ImagOn Works to Create Tonal Values 
With the Intaglio-type techniques virtually any stencil can be used from the finest halftones to photocopies to wash drawing on tracing paper. 

For a stencil to exist there must be two major elements ; 
First, a transparent or translucent paper, plastic or film substrata and; 
Secondly, ink, photo emulsion, photocopy toner, drawn lines, painted washes or flattened objects placed or stuck on to this substrata. 

The stencil when placed in perfect contact with the ImagOn film and exposed to a strong UV light source creates a controlled filtering effect of the UV light. Some areas of the ImagOn will be completely blocked by the stencil while other areas will allow graduated portions of UV light to penetrate the surface of the ImagOn emulsion. The degree to with which these stencils protect the ImagOn emulsion from the UV light is the determining factor for the tonal scale of the output image created from the ImagOn plate. In the case of the halftone the size and concentration of the dots within the image create the illusion of tonal scale. In the Intaglio-Type non-etch techniques the tonal scale can also be represented by how deep the image was exposed into the actual thickness of the ImagOn emulsion. White areas of an image are created when the UV light exposure to the ImagOn emulsion has been unimpeded. Generally the longer the ImagOn emulsion is exposed to the UV light the light will those areas be in the finished print. 

Thinning the ImagOn emulsion for the Etched Intaglio-Type technique 
Because our intention is to etch the plate it is advisable to protect the ImagOn emulsion from stray UV light at every stage of this process. One simple way to do this is to work under low level incandescent lights or to use red or yellow plastic shower curtains to cover windows or fluorescent light fixtures that may cause stray UV light to prematurely expose the ImagOn. Stray UV light can fog the ImagOn film thus preventing the image from fully developing. This is a crucial aspect of the Etched Intaglio-Type etch method. 

The Etched Intaglio-Type Thinning Solution 
The thinning solution is made up in much the same manner as the developing solution for ImagOn film. When making up the thinning solution it is important to be consistent and accurate with your measurements. 

Mix exactly 10 grams of soda ash powder with 1 liter of water. Same mixing instructions outlined in the Basic ImagOn Process Handout The temperature of this solution is also important and must be between 65 - 70 degreesF. Add this solution to a photo developing tray. 

After laminating the ImagOn film to the copper plate the top Mylar is removed from the surface of the film Basic ImagOn Process Handout. The plate is then placed face up in the thinning solution and left undisturbed for exactly 8 minutes. During this time it is a good idea to cover the developing tray up with an opaque lid. 

The thinning solution gradually and evenly erodes the ImagOn emulsion. The amount of erosion is proportional to the actual time it is left in the thinning solution, the temperature and also the concentration of the thinning solution. Lesser times, stronger developing concentrates and temperature variations could be employed. 
 
Plate Treatment After the Thinning Solution 
After exactly 8 minutes has elapsed the plate is taken from the thinning solution and immediately submersed into a tray of room temperature water. The ImagOn emulsion is then wiped carefully with a clean non-abrasive sponge, while submerged in this water tray, until all residue is removed from the plate.  This takes only about 30 seconds after which the plate is taken from this rinsing tray and squeegeed clean. To remove any final water residue the plate can be further blotted twice with clean newsprint. This must be done quickly to prevent paper fibers from sticking on to the ImagOn emulsion. The plate must be thoroughly dried with a hair drier or drying cabinet before it can be exposed to the halftone or art work. After the plate has been prepared for the Etched Intaglio-Type method it is best to use this plate as soon as possible as the ImagOn emulsion, if left for periods of 24 hours or more, will oxidize and as a result will require longer exposure times. 

Once the plate has been prepared for the Etched Intaglio-Type it is ready to be exposed to the artwork and developed as outlined in the Basic ImagOn Process Handout. 

Etched Intaglio-Type Plate 
With the Etched Intaglio-Type method it is advisable not to light-harden the plate because this allows for further development if this plate was not completely developed the first time. 

Once the back of the copper plate has been sealed with packing tape it is then submerged into a ferric chloride etching bath.  Once in this bath the ferric chloride immediately attacks the unprotected areas of the copper plate. At this point these unprotected areas, which represents those areas of the plate that will eventually hold the ink, will turn a deep brown color. If after 10 minutes of etching the etched portions of the image are not completely visible then the plate can be taken from this etching solution, washed down with water and re-submerged in the developing solution to open up those area that did not get enough development. 

Once the ImagOn emulsion is thinned down to the extent that is required for a fine etch it is extremely difficult to see the developed image. If you are not certain which part of this image will etch another option is to dunk this plate in the ferric chloride solution for about ten seconds and wash it down with cold water. The ferric chloride will turn those areas of the plate, that will eventually etch, into a dark brown color. (See pages 60-61 "Safe Photo Etching for Photographers and Artists" for complete description of aeration system.) 
 
Etching the Etched Intaglio-Type plate 
After the plate has been developed and dried it is backed with packing tape, to prevent the back of the plate from etching, and then it is etched in a 45?Baume ferric chloride solution at room temperature for about 1 hr. 30 min. If the ferric chloride is heated with an immersion fish tank heater and an aquarium pump forces air through the solution etching times can be substantially reduced. Aquarium aeration systems are recommended because they promote a finer etched plate. 

Etching times can vary depending on the desired results wanted in the finished print. Over etching will cause the finer details to disappear resulting in an image with greater contrast and also areas of open biting (see page 69, "Safe Photo Etching for Photographers and Artists"). 
 
 

• Txxx.

Printing the Etched Intaglio-Type plate 
After the plate has etched it can be printed with the ImagOn emulsion still intact on the plate. This makes the plate easier to wipe and may preserve some minute details that did not etch. It is advisable to proof the plate first with the ImagOn emulsion on the plate and then with this emulsion removed. Comparing both results will enable you to determine exactly which areas of the plate did actually etch. The ImagOn emulsion is removed in the same manner described under the Basic ImagOn Process Handout. It should also be noted that further image manipulation can occur if the ImagOn emulsion is selectively removed from the plate. Sanding with 600-grit sandpaper can most easily control this. Where the ImagOn emulsion is retained on the plate there will be no plate tone and where the ImagOn is removed there will be plate tone. 
• see Printing Handout

• Vegetable oil (canola) and a rag.
• Degrease with magnesium carbonate.
• Put up all paper, plates, inks on personal or appropriate studio shelf and drawers.

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