. .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    
 

• Two or more layers of ImagOn film are applied to the plate with different exposure treatments between each layer.
• Applying Multi-layer of ImagOn Film
• Plate preparation and ImagOn laminating technique is the same as outlined in the Basic ImagOn Process Handout.. In some instances, when applying multilayers of ImagOn film to the plate, it may not be necessary to use the alcohol/water spray between these successive layers. There are several factors that relate to whether the alcohol/water spray should or should not be used. The overriding factor is how well each layer of ImagOn film is laminated to each successive layer. Try laminating the layers of ImagOn first without the alcohol/water spray. If lamination is not complete without the alcohol/water spray then apply this spray at a concentration of 1 part alcohol to 2 parts water. If  lamination problems persist increase the alcohol proportion to a 50% mixture. The higher the concentration of alcohol the stickier the ImagOn emulsion becomes effectively reducing the working time to a matter of seconds. Remember to remove the top Mylar protection sheet from the ImagOn film between these layers. 

• Exposure Configurations for the  Layered-Intaglio-Type
• Different exposure configurations can be applied with this technique. You have four different choices in how the plate will be made. Each separate plate can be prepared in one of four ways as follows.
• First Choice: Using the aquatint screen, as described under the Howard-Wash Drawing-Type technique, expose this first layer of ImagOn film to the aquatint screen. At this point a second layer of ImagOn can then be laminated to this pre-exposed layer and then subsequently exposed to the art work or halftone. After which the plate  is developed and processed as outlined in see Basic ImagOn Process Handout. 
• Second Choice: Two layers or more layers of ImagOn film are laminated, without exposure between the layers. These multilayers are then exposed to the aquatint screen after which the image layer of ImagOn is laminated and exposed to the art work or halftone. The plate is then developed and processed as outlined in the see Basic ImagOn Process Handout. 
• Third Choice:  Multilayers of ImagOn film can be built up by exposing each layer separately to the aquatint screen before each successive layer is applied. The final image layer of ImagOn is then laminated and exposed to the art work or halftone. After which the plate  is developed and processed as outlined in the see Basic ImagOn Process Handout. 
• Fourth Choice: Similar or unlike stencils can be exposed and developed between each layer of ImagOn on the plate resulting in a montage of images. 

• The reason for using more than one layer of ImagOn film relates to the density of the ink deposits wanted on the finished intaglio print. The more the layers of ImagOn applied the greater will be the quantity of ink deposits made especially to those ink deposits in the blackest areas of the print. 
• The great advantage to the Layered Intaglio-Type is the flexibility that this technique gives you when composing your halftone or art work. Normally when working with halftones it is important to insure that there is at least a 50 - 70% dot structure in the blackest areas of the image.  Without this dot structure the black areas will not hold ink resulting in an open-bite effect or reversal of tonality. In other words if the blackest areas of the lith film halftone are represented by solid black areas, without any discernible dot pattern,  when this is translated into an intaglio plate and printed, these areas of the halftone would print as either a light gray or a white. This factor necessitated an intimate knowledge and experience when making halftones. This factor of dot density in the blackest areas of a halftone also meant that these areas were not as black as they could possibly be in the finished print simply because of the presence of this dot structure. Also making a good halftone with the absence of any solid black areas ultimately meant that about 5% of the darker gray tones of a halftone dropped-out. 

 

• The Layered Intaglio-Type addresses both the issue of ink density in the blackest areas and contributes not only to simplifying the method for making of halftones but also enables images to be printed with an extended tonal range. When making a halftone for the Layered Intaglio-Type the blackest areas of the halftone can fill-in because these areas will be represented in the final print by the ink held in the aquatint layers of the Layered Intaglio-Type plate.  The finished plate seen in a side section.

 

• Developing Guide for the Layered Intaglio-Type 

The developing technique for the Layered Intaglio-Type is far more difficult and precise than the preceding techniques because it is easy to under or over develop these plates. This development difficulty is due largely to the fact that developing is a time and pressure sensitive procedure. Although we can quantify developing time we are unable to quantify how much individual pressure that is applied to a plate by each printmaker that uses this technique. Even if water pressure is used this is still very difficult to quantify. As with many other printmaking techniques there is no substitute for actual experience. The best indicators of complete development are the tactile feel and colour of the plate during development. Even while wearing rubber gloves during this development procedure the tactile feel of the plate can easily be felt.  
 

• Some printmakers rub the plate periodically while it is submerged in the developing solution. Others let the plate sit in the developing solution for periods of time up to 10 minutes and then rub the plate.  In the end it is how the plate looks and feels that is the determining factor as to when it is fully developed. It is extremely important to be very cognoscente of this part of the procedure so that developing successes can be repeated. Invariably each printmaker will create their own developing technique that works for them. 

 

• The Layered Intaglio-Type Deep Bite Technique 
• If a printmaker wants to create a plate with deeper intaglio non-etch surfaces more than one layer of ImagOn can be applied to the plate before the plate undergoes any exposure. Thus a developed plate carrying two layers of ImagOn film will hold twice the depth of ink as a plate carrying one layer. Of course the option remains to expose the first layer to the aquatint screen and then to one or more layers on top to achieve this deep bite effect. 

After the Layered Intaglio-Type plate has been developed it is processed for printing as outlined by the Basic ImagOn Process Handout.

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