. .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 

• Any of the Intaglio-Type techniques can be either printed by the intaglio or relief printing method. It is also possible to ink up a plate with the intaglio inking method and relief roll ink directly on top of this previously intaglio inked plate. (See pages 78-79 "Safe Photo Etching for Photographers and Artists".)

Relief Intaglio-Type for Wood and Lino-block Printing. 

• One of the great advantages of using ImagOn film is its ability to be adhered to almost any surface. In the case of the Relief Intaglio-Type the ImagOn film can be applied to linoleum or plywood surface or any conventional wooden surface used in wood block printing. If a wooden or linoleum surface is to be used with the ImagOn film it is best to seal the wood with Future liquid acrylic floor finish before applying the ImagOn film. Although the ImagOn film will reluctantly stick to an unsealed linoleum or wooden surface it is best to give these surface at least one coat of the acrylic floor finish for better adhesion. In some instances it is best to coat wooden relief plates with a number of coats of the floor finish to control the amount of wood grain that will appear in the finished print. If multiple coats of the acrylic floor finish are applied to the plate make sure to sand smooth with fine sandpaper between each layer.  
• I see little point in using a wooden plate if there is no visible sign of the wood grain in the finished print but if there is too much grain this can also present an aesthetic problem. It is for this reason that I recommend the liquid acrylic floor finish coating procedure to add an element of control within the finished print. At any stage of the image development the wood block can easily be reworked with a Dremel tool or fine wire brush. Not only do these reworking methods produce results akin to wood block printing but this is a way to selectively enhance the wood grain. Also when wood or linoleum is used the option remains to cut into these surfaces with conventional wood cutting tools. This can inject an image with deep embossed areas and lines. Inking these plates in either the intaglio/relief technique can make further image development or these plates can be inked solely as a relief print.  
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Relief Intaglio-Type for Viscosity Printmaking  
• ImagOn is an ideal medium for those printmakers who wish to work with viscosity printmaking techniques. Because of the 2  mil thickness of the ImagOn film it can be applied to a plate one layer on top of another for as many layers that is deemed necessary to achieve the multilevel build-up that is required of viscosity printing.  The other creative advantage for using ImagOn is the fact that it is so pliable that it can be pre-cut to almost any shape before it is laminated to the plate. So if one particular shaped area needs to be built up in higher relief than the rest of the plate multiple layers of pre-cut ImagOn film can be applied to that area of the plate. Once the first layer of ImagOn has been laminated to the plate then all successive layers can be applied with or without the water-alcohol spray. Some drier studio conditions may necessitate the need for a higher concentration of the alcohol-water spray while other studio environments can dispense with using the laminating spray after the first layer has been applied. Try to dry laminate ImagOn film after the initial ImagOn layer has been applied. If the dry lamination does not work then resort to using the alcohol/water lamination spray. Remember to remove the top Mylar protection sheet from the ImagOn film between layers. 
• This multilayer relief building of the ImagOn film on to the surface of the plate can either be done hand in hand with image exposure and development between each layer or without exposure and development between the layers. In the later case the ImagOn film can be used for its thickness, shape making and adhesion value. This method of using ImagOn simulates the way 3D typographical maps are made.  
• If you are exposing and developing images to the ImagOn film and building up further images in this manner make sure that your stencils have some density variations between each layer. Otherwise there is little point in working a multi-layered plate in this manner. If you are working with a series of varying density images, whether it be hand drawn or photographic, after the first layer of this image is exposed it is developed in the soda ash solution, after which it is rinsed and thoroughly dried. The second layer is then applied and the process repeated until the image build up meets the desired levels required of viscosity printing.  
Viscosity Image and Plate Making  
• Processing an image for this type of viscosity printmaking can be done by photocopying an image several times on to photocopy Mylar and varying the contrast control adjustment between each copy. In this way you can have an image with varying contrast densities from the first image to the last. By exposing the ImagOn film first to the photocopy that has the most amount of photocopy toner and then to the successive less dense images a viscosity plate can be made. If you are working in the darkroom with conventional lith film processing then several density variations of this image can be made from under-exposing to over-exposing this image. This is sometimes referred to as posterization of an image and is a favorite technique used in screen-printing. 
Printing the Relief Intaglio-Type  
• After the R-H-Type plate has been made it must also be light hardened.  One of the best relief printing inks for relief prints is Graphic Chemical water-soluble relief Ink. For the simplest relief ink prints apply layers of the water-soluble ink and then print onto dry paper using the etching press. 
• When printing viscosity prints the best inks to use are oil based litho or relief inks. The basic principle of viscosity printing is to vary the viscosity and the hardness of the relief printing rollers between each color and level within the plate. Each color applied to the plate represents a different hardness and viscosity of ink. The complexity of this printmaking technique is such that the uninitiated printmaker will have to seek further information through books that deal more thoroughly with this technique. See the bibliography listed at the back.  
Reworking the Relief Intaglio-Type Plate   
• If the ImagOn film has been built up in to high relief portions of the plate can be sanded with various types of sandpaper from coarse to rough depending on the desired results.  
• ImagOn areas can be selectively painted with a 20% caustic soda solution, while taking the proper safety precautions of wearing rubber gloves and eye protection, to remove the ImagOn emulsion. The strength of the caustic soda solution can be varied for either more control or quicker biting action.  
• All kinds of Dremel tool bits can also be used to grind and manipulate the surface of the ImagOn emulsion. If a dust is created during this procedure it is also advisable to use a dust mask to avoid breathing in these polymer particles.  
• The reworking instructions outline under the Howard-type technique can also be applied for the Relief Intaglio-Type 
• After a copper plate has been laminated with ImagOn it can be exposed, developed and then etched in a ferric chloride solution. In this way a photo or hand drawn relief image can be made. This presents a more conventional way of working with an etched plate because at any stage of the etching process the plate can be stopped out with acrylic floor finish to create the various levels needed with a viscosity plate. When using Future for stopping out the plate it is best to apply one layer then wait for it to dry and follow up by giving it another layer.  Two thin layers work better than one thick layer.

If a plate has been etched it is advisable to clean those etched areas with a deoxidizing solution before the blocking-out procedure.  
Deoxidizing solution; A deoxidizing solution can be made with white vinegar and table salt. Add 8 tablespoons of salt to one cup of white vinegar. After cleaning the raw copper plate with the deoxidizing solution wait until it dries before stopping-out.  

When working with relief printmaking images these images are composed in the negative form because the areas of the relief plate that are removed represents the colour of the paper. There exists an opportunity to reverse this negative reading quality with the RE-H-Type because at any time during the etching sequence the unprotected areas of the copper plate can be aquatinted(if necessary). The best aquatint to use is the Hunt Speedball Water Soluble Screen Filler 4570 as outline in my book "Safe Photo Etching for Photographers and Artists" pages 71-72. Spray the diluted screen filler onto the plate with a Paache Airbrush Model-H.  

If screen filler has been used for the aquatint it is best to remove it with Fantastic or Mr. Clean before printing the plate. This screen filler can also be removed can by sanding the relief surface of the plate with 320 to 600 grit wet-and-dry sand paper with a finishing sander. The plate should be completely dry before sanding and the wet-and-dry sandpaper should be used dry. A flat piece of wood wrapped in sandpaper can be used for this sanding procedure.  If an electric finishing sander is used, with the 600 grit sandpaper, a glass like finish on the relief surface results.   

Rubylith Stencils for the Relief Etch-Howard-Type 
Simple plates can be made by making stencils from Rubylith type masking films (which are used extensively in screen printing). These masking films are ideal for those printmakers who are comfortable working with hand-cut stencils and multiple stencil overlays. All stencils can be pre-cut and colour choices made before plate making. There are two approaches that can be made for plate making and for printing. Either a etch or non-etch plate can be made and these plates can be printed in either relief or intaglio.  

Other stencil material can also be used for the RE-H-Type. Any low relief object from plant material to the most delicate lace can be placed in contact to the ImagOn film and exposed to the UV exposure light, developed, dried and light-hardened. Some intricate stencils such as loose weave fabrics and fine lace can be printed intaglio or relief immediately after the plate is made. The choice also exists to either etch  or not etch these plates. Other plates may necessitate the application of an aquatint with the Hunt Speedball screen filler method described above.  

Another way of working with the non-etch method is to apply a layer of ImagOn and then expose that layer to the aquatint screen after which another layer of ImagOn is applied to the plate and then exposed to the stencil. This leads onto the next Intaglio-Type technique called the Layered-Howard-Type . 

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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

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