Printmaking Studio Safety

ImagOn Techniques

Basic ImagOn Process	....	...	General Safety
Textbook reference: pp	Etched Intaglio-Type
Materials:	*Etching resist technique for those printmaker who want to etch into a metal plate.*
.. ...Projects .. ...Schedule .. ...Printing . ...Ink Cleanup . ...Plate Prep . ...Use of Photocopies . ...Additives & Cleaners	ImagOn has great adhesive qualities in addition to its photo sensitive qualities 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.
	Print 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 Clean Up of Printing Plate and Inking Station Vegetable oil (canola) and a rag. Degrease with magnesium carbonate. Put up all paper, plates, inks on personal or appropriate studio shelf and drawers. Keep studio orderly.

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© Beth LaCour 1999

File: ImagOn - Introduction

Introduction

Intaglio-type is a family of printmaking techniques, developed by Keith Howard, using Du Pont photo polymer film called ImagOn in conjunction with conventional etching presses and traditional etching ink. These techniques offer the printmaker an exceptional image making capability with reduced risks to health, safety or the environment.

How can ImagOn be utilized? Intaglio images can be produced through non-etch techniques or using an etching resist method so that metal plates can be bitten in a mordant such as ferric chloride.

In the non-etch techniques an ImagOn coated plate is exposed to the art work or photo halftone after which the ImagOn is developed in a 1% soda ash and water solution. After light hardening the plate it is printed in the intaglio manner. The actual developing process removes unexposed ImagOn film thus creating the intaglio surface needed for intaglio printing. The developed ImagOn photo polymer emulsion is so strong that it can yield up to 40 prints. Stable and predictable exact duplicate plates can easily be made in minutes.

Photo Imagery with ImagOn (Darkroom, Photocopy, Computer Output) ImagOn can be used for all photo generated imagery from high quality halftones to computer generated images to simple photocopies. If paper photo copies are used as the stencil rub vegetable oil into the photo copy paper until it becomes translucent. At this point the photocopy can be directly exposed to the ImagOn plate.

Painting and Drawing Techniques with ImagOn By working on to drafting Mylar any drawing material from sharp pen lines to soft crayon marks can be faithfully represented in the final intaglio print. A large range of subtle ink and gouache washes can also be painted on drafting Mylar then transformed into an intaglio print. Frosted Lexan is another surface on which drawing and washes can be made.

File: ImagOn - Short Instructions

ImagOn - Short Instructions

Prepare Plate See file: *Plate Preparation for Use with ImagOn Film*
Laminate ImagOn to Plate Surface See file: *Adhere ImagOn Film*
Expose ImagOn coated Plate image original - See file: *Use of NuArc Exposure Unit* See file: *Exposure times for ImagOn Film*
Develop Plate See file: *Develop ImagOn*
	Remove mylar from plate Place plate in ImagOn developer Gently rub plate with a very soft sponge See feel and hear the texture of the ImagOn changing. All of the ink for the intaglio print is carried within the depth of the film layer. For lighter areas of ink, you will not see the copper plate below. Development time = Apx 2 minutes:	ImagOn developer 1 tsp. (heaped) Soda Ash to 1 liter of water Rubber gloves RECOMMENDED
Rinse and Dry Plate
	Rinse plate under running water Blot or squeegee excess water off plate Dry with hair dryer
Harden ImagOn Plate
	Place developed ImagOn plate on top of the glass in the exposure unit Hardening Exposure - 60 units (twice) -- or -- One minute on the manual setting Sunlight - 30 minutes
Ink and Print See file: *Intaglio Inking and Printing*
	As usual. (apx 40 prints possible per plate)
Removal of ImagOn from plate
	Let sit overnight in the developing solution Place in caustic solution for approximately 15 minutes Plates may be reused	Caustic solution: 1 teaspoon lye to 1 liter of water Goggles, apron, & gloves when mixing Use of Rubber gloves is REQUIRED

File: Plate Preparation for Use with ImagOn Film

Plate Preparation for Use with ImagOn Film

Types of Plates
	Almost any stable, non-oily flat surface that will accept the ImagOn film can be used as a plate. In order of preference:
	Roofing copper flat galvanized sheet metal nick zinc, brass plywood or wood block plates aluminum	Plexiglas Lexan stainless and mild steel polyester sheeting collograph plates linoleum.
Prepare Edges of Plate
	Match your image size to the size of your plate. It is preferable to cut the plate to size before adhering the ImagOn film. The plate can be trimmed with the developed ImagOn on the plate but there is a tendency for this trimmed edge to be more jagged than the other edges of the plate. This fact will become more obvious in the finished print.
Prepare Edges of Plate
	Round edges of plate with a file No need to bevel plate if use roofing copper (22 gauge)
Degrease Copper Plate
	Degrease plate with electric palm sander 320 grit sandpaper (wet or dry). Wet has less dust, could use dust mask Sand plate until the copper has an even sheen. It is not necessary to remove all of the sanding marks gives it a slight tooth for better adhesion of the ImagOn film.The whole surface needs to be sanded. Sand edges to make sure the edges cannot cut you or the press blankets. After sanding the plate, wipe off the dust with a clean rag. Do not get fingerprints on the plate Sanding is done immediately before the plate is to be laminated with the ImagOn film.		Particle Dust Mask REQUIRED Dry sand only in a well-ventilated space. It is advisable to use the wet sanding method which prevents sanding dust from becoming airborne.

Removing ImagOn from Plate
	Let sit overnight int he developer solution ---or ----- Place in caustic solution for approximately 15 minute		Caustic solution: 1 teaspoon lye to 1 liter of water Goggles, apron, & gloves when mixing Use of Rubber gloves is REQUIRED
Reusing Plate
	Once a plate has been sanded it is not absolutely necessary to repeat this procedure for reusing the plate. some printmakers sand the plate between each application of ImagOn because this "degreasing" technique is so immediate and effective. Cleaning the plate with Ajax or Comet cleanser and nylon pot cleaner should suffice.

*Plate Degreasing For Non-Copper Plates*
Galvanized sheet metal or aluminum sheeting
	not necessary to sand Must thoroughly clean with Comet or Ajax Cleanser and kitchen pot scrubber.
Plexiglas, Lexan and polyester sheeting
	No sanding necessary. Be sure that there are no oily marks of finger prints on the surface. A fifty percent alcohol and water solution is sufficient to clean these surfaces.
Wood and Linoleum
	Coat wood with three coats of Future	plate can easily be reworked with wood- block cutting tools after the ImagOn has been developed on to the surface of the wooden blocks .See the section on the Relief-Howard-Type.

File: Adhere ImagOn Film to Plate

Adhere ImagOn Film to Plate

Remove Mylar liner from ImagOn film

remove the top plastic peel back layer from the film.

The peel back layer is the inside surface of the natural curl.

To remove the inside plastic peel back layer place the ImagOn film between the thumb and index finger and gently push your thumb away from your index finger so that the texture of your thumb print catches the edge of the peel back layer and causes it to roll backwards. This technique takes time and practice to master.

An alternative method:

dog ear a corner of the ImagOn film and rub this folded section against itself until the inside peel back layer separates from the ImagOn emulsion.

Make sure that the inside peel back layer is removed and not the outside Mylar layer. The inside plastic peel back layer has a soft feel somewhat like Glad Wrap and the outside Mylar layer has a stiffer feel similar to cellophane.

Place ImagOn on Press bed with revealed "Sticky side up"

placed onto a perfectly smooth surface

This smooth laminating surface can be polished stainless steel or Lexan.

If there is the slightest scratch or imperfection in the laminating surface this will be imprinted in to the ImagOn film and could be noticed in the finished print.

Handle the ImagOn film carefully as mishandling causes dimples in the ImagOn film that can result in unwanted marks in the finished print.

Spray Alcohol Laminating Solution

liberally spritzed with a plant mister containing a lamination solution

Laminating solution = required in dry climates

Not needed in damp climates

Recommended laminating solution:

1 part rubbing 70% isopropyl rubbing alcohol mixed with 3 parts water

it is possible to adhere ImagOn with just water. If water is used as the lamination solution it is advisable to allow the plate to dry for several hours before using it.

Some pre-etched or reworked surfaces may require a stronger alcohol water mixture to cause the ImagOn to stick more effectively. The more alcohol that is present in the spray the more difficult it is to work with because the ImagOn will stick to the plate too quickly.

Place prepared plate prepared side down onto ImagOn Film

Replace mylar covering or place newsprint over plate and film

Replace mylar covering or newsprint over the plate to protect the press blankets from the Imagon adhesive

Run through press

lower etching blankets over the entire plate

run through the press in the same manner in which a print is made from an inked plate.

slowly.
The speed of the press bed moving through the press rollers, during lamination, should be roughly one foot every 12 seconds.
Normal etching blankets are used and the pressure of the press is set slightly tighter than what would be required to print a fine aquatint.

Trim edges of film around plate

final trimming to ensure that the ImagOn emulsion is cut flush with the edge of the plate.

trimming knife has a very sharp blade

cut down on the ImagOn film in such a way that the cutting action will not cause the edges of the ImagOn film to lift away from the plate.

Do not discard the ImagOn film trimmed from the plate these small pieces of ImagOn can be recycled.

See "Liquid ImagOn for Reworking the Plate".

File: Use of the NuArc Exposure Unit

Use of the NuArc Exposure Unit

Turn on Master Switch
Position Artwork and Plate in Vacuum Frame
	Pull out vacuum frame drawer Place ImagOn covered plate face up under the glass For Aquatint, place aquatint screen on top of plate (emulsion side down) Make sure that the screen does not cover the small vacuum intake hole in the upper left corner) Place glass down Disengage locking mechanism on the left side of the drawer slide Push vacuum drawer back into unit
Expose ImagOn coated Plate image original -
	Set exposure time This equipment has a light integrator that judges the amount of light that actually is emitted from the mercury halide light source. Check to see that the switches (on the right) for the manual control of the light source and the light integrator switch are both in the OFF position. Set the unit of exposure desired on the circular gauge on the right side of the "control panel"	See file: *Exposure times for ImagOn Film*
	Create Vacuum Check that the Bleed vacuum knob is closed. Turn knob clockwise to close. Lightly but firmly tighten. Press the vacuum button to the ON position. The pump will start evacuating air form the vacuum drawer The amount of vacuum recorded on the vacuum gauge should reach 22. If the vacuum does not build, turn the bleed valve to the clockwise until pressure building is reflected in the pressure gauge.
	Make exposure Press the integrator button to the ON position. The orange exposure indicator light (orange) will illuminate until the exposure is complete (until the Mercury halide light source is turned off by the integrator. After exposure light goes off: Press integrator switch to the OFF position	Do not look at the light source as the strong light can do serious eye damage
	Bleed Vacuum Turn bleed knob counter - clockwise to release vacuum from the vacuum frame drawer Open drawer, lift glass, remove plate, artwork etc.
	Repeat if additional exposures are needed Note: you need to wait at least 30 seconds before trying to restrike the bulb.
	At the end of class (or of your work session) Turn off Master switch

File: ImagOn Exposures

ImagOn Exposures NuArc 750 Mercury Printer

Expose ImagOn coated Plate image original -
		Continuous Tone Expose ImagOn plate to Aquatint screen ( 35 Unit) Expose ImagOn plate to original artwork Apx. times (under refinement - as of current printing): Xerox transparency - 10 unit exposure Frosted Mylar (heavy) - 35 unit exposure
		Line Work (Stippling, Hatching, etc) No grayscales No initial exposure to an aquatint screen Expose ImagOn plate to original artwork. Apx times (as of 10/29/97) Xerox transparency - 10 unit exposure Frosted Mylar (heavy) - 35 unit exposure
		Images with solid black areas Expose ImagOn plate to Aquatint screen ( 35 Unit) Expose ImagOn plate to original artwork Apx times (under refinement - as of current printing): Xerox transparency - 10 unit exposure Frosted Mylar (heavy) - 35 unit exposure
	Determining Exposures
		make a step tests to determine the correct exposure for the various Processes Perfecting exposure times, for the various elements within each technique, will result in optimum output results. Determining which is the ideal exposure time, for any exposure unit, is a matter of doing a series of test exposure to determine the best results. make test sample plates and print them in the intaglio manner. Post the "optimum" exposure times on the side of exposure unit for future reference.

File: Exposure Units

Exposure Units

Exposure Units
	A vacuum frame used with a 400W Mercury Vapor lamp, order number H33CD-400, positioned about 14" away from the vacuum frame will give exposure times from 15 seconds to 1 1/2 minutes depending on which stencil is to be exposed. A homemade exposure unit with a 1000 W Clear Metal Halide lamp will yield exposure time from 3 to 20 seconds. Make sure that the Mercury Vapor and Metal Halide lamps are CLEAR not frosted. If you are building your own exposure unit ensure that a qualified electrician hooks it up and that it meets local safety certification standards. It is also very important to protect your eyes from the output light from this type high intensity UV light source. It is best, when building your own exposure unit, to designed it in such a way that it is impossible to expose your eyes to its UV light source. Any commercial printers plate exposure unit will work provided it is not the kind with fluorescent tube lighting.	these lights can be purchased from any industrial electrical or lighting supplier.
Testing the Aquatint Screen for your exposure unit
	After an aquatint screen has been made it is important to expose it directly to a ImagOn laminated plate with incremental time segments then develop, dry, light-harden this plate and then print it to see which exposure segment gives the best density of black. Remember to always have the emulsion of the aquatint screen facing down in direct contact with the ImagOn emulsion. Once the optimum exposure time for this black has been determined it generally remains fixed unless a gray tone is required rather than the black. In any case your step exposure and final print will give you an accurate guide if you wish to exploit a range of tonal values in your aquatinted areas. Generally speaking the longer the aquatint screen is exposed the lighter will be the finished aquatint.
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File: ImagOn Photo Polymer Film - General Supply List

ImagOn Photo Polymer Film - General Supply List

General

ImagOn Film (fromerly Riston)

developed by DuPont
sold by Praga
Utility knife

Soda Ash (sodium carbonate). The best source of supply for soda ash can be found in swimming pool chemical supply firms. Also sold as Arm and Hammer Washing Soda.

Gram scale. Approximate measurements can be done with a teaspoon.

Liter measuring beaker.

Caustic Soda (NaOH) can be purchased commercially as Lye.

Rubber gloves and eye protection.

Plant spray mist bottle.

Etching press.

Conventional etching inks and paper.

Two photo developing trays large enough to accommodate your plate.

Dish washing sponge.

Student Provided

Utility knife

Dishwashing Gloves for ImagOn developer

Plates

paper.

Studio Provided

Alcohol Laminating Solution

Some Reusable Plates

Soda Ash (sodium carbonate). The best source of supply for soda ash can be found in swimming pool chemical supply firms. Also sold as Arm and Hammer Washing Soda.

Caustic Soda (NaOH) can be purchased commercially as Lye.

Rubber gloves and eye protection for Caustic Soda Solution.

Conventional etching inks

Two photo developing trays large enough to accommodate your plate.

Dish washing sponge.

Rubylith

File: Studio Lighting for Using ImagOn Film

Studio Lighting for Using ImagOn Film

Studio Lighting for Using ImagOn Film

ImagOn film is sensitive to high intensity Ultra Violet (UV) light

precautions should be taken to ensure that the ImagOn film does not get exposed to UV light while cutting the film and preparing the plate.

lighting conditions can be very flexible. In fact almost any studio with ambient lighting can be used without fear of exposing the ImagOn film provided that the preparation process is carried out in less than 30 minutes. The most important thing is to shield the ImagOn film from direct sunlight. If a window in your studio is causing too much sunlight to flood in then it is advisable to cover the window with red or yellow plastic translucent shower curtain.

An alternative to covering the window is to prepare the ImagOn for the plate under incandescent light.

The prepared plate then can be covered with a sheet of Rubylith film or some opaque surface and transported to the etching press for lamination.

After the felt etching blankets have been lowered onto the ImagOn film and plate, prior to running it through the press, the Rubylith film can be removed. After lamination similar light protection precautions can be taken for the further steps in the plate making procedure.

File: Exposing ImagOn

Exposing ImagOn

Various types of Ultra Violet (UV) light sources

Can be used to expose the ImagOn film to the art work.

Sunlight

Can be used but it is almost impossible to obtain consistent results.

Exposure times that vary from a few seconds to a few minutes depending on the season and the time of day.

Commercial exposure units

Exposure times that also vary from seconds to a few minutes

For optimal results it is important to have absolute control over exposure.

a good vacuum frame used in conjunction with the exposure unit is critical.

Perfect contact between the halftone film positive or art work and ImagOn emulsion is required.

File: Develop Exposed ImagOn Plate

Develop

Remove the Top Mylar from the ImagOn Coated Plate.

brush your open palm backwards against the edge of the ImagOn coated plate to lift the edge of the mylar. Once edge is lifted, remove it from the plate.

Developing Solution = 10 g. soda ash / 1 liter water

ImagOn Developing Solution - anhydrous variety of soda ash powder (sodium carbonate) available from swimming pool chemical supply companies.

10 grams of soda ash powder (approximately one level teaspoon) is added to a small amount of hot water until the powder has dissolved. Room temperature water is then added to this dissolved soda ash solution to make a volume of 1 liter. The working temperature of the developing solution should be between 65-70?F. This solution is then added to a photo developing tray.

Photo Developing Tray

Developing ImagOn

If the top Mylar has not been removed this must be taken from the surface of the ImagOn coated plate before development. Place the ImagOn plate in to the developing solution and rub the surface with a dish washing sponge for about 2 minutes.

Knowing precisely when the image is developed is a matter of experience based on visual inspection and the tactile feel of the image during this developing stage. It is the unexposed areas of the ImagOn that washes away in the developing solution. After the unexposed ImagOn is washed away valleys and grooves are left in the ImagOn emulsion that are characteristic of the intaglio plate.

All of the ink for the intaglio print is carried within the depth of the film layer.

For lighter areas of ink, you will not see the copper plate below.
Rinse under room temperature running Water and squeegee off remaining water.

Allow plate to completely dry or force dry with a hair-dryer or drying cabinet

It is advisable to wear dish washing gloves for the development procedure as repeated use of the developing solution can dry out the skin which may initiate a dermatitis reaction on the hands. As the developer is an alkaline solution it is essential not to splash any of this developing solution into your eyes and for this reason eye protection is also advised.

File: Light Harden the exposed and developed ImagOn Plate

Light Harden the Plate

Flash plate for about one minute in exposure unit or for about 30 minutes in the sun

Before the plate can be inked

final light-hardening to completely harden the ImagOn emulsion.

Failure to do this may result in the etching paper sticking to the surface of the ImagOn plate during the printing procedure.

The actual time a plate can be light-hardened can vary from double the exposure time required for a halftone image to far longer exposures.

A long exposure will neutralize the blue color of the ImagOn film. The longer the ImagOn plate is left for this light-hardening the lighter the blue pigmentation of the ImagOn emulsion becomes. If a plate is left for this light hardening long enough the blue pigmentation of the ImagOn emulsion disappears entirely revealing only the color of the substrate. This may appeal to those printmakers who like to be a be able to see the color of their etching plate during inking. The minimum light-hardening times for the 1000W Metal Halide exposure unit would be 20 seconds and for the 400 W Mercury Vapor exposure unit would be 90 seconds.

Sunlight can serve to light-harden.

File: Exposure Times

Exposure Times

The actual exposure time for halftones and wash drawing varies considerably. The success of the Intaglio-Type techniques depends on two basic factors;

1. How well the halftone or continuous tone is made;

2. How long the halftone/continuous tone or art work is exposed in the exposure unit.

Exposure tests should be made to determine what is the optimum exposure time for either a photographic halftone tone or art work. The best results occur when the complete range of tonality is achieved in the finished image. If the lighter grays of the image are dropping out then the exposure is too long. If the blacks are also dropping out then the dot structure of the halftone in these areas may be too congested or the exposure may be too short. These aspects must be in balance for optimum image clarity in the finished print.

Determining Exposure

ImagOn represents a unique image enhancement alternatives that are not possible with any other techniques. ImagOn has the ability to compensate for halftones that are flawed or deficient in tonality. The Layered-Howard-Type and various methods outlined for reworking the plate does allow you to create and hold black inked areas that may not have been apart of the original image. Some areas of an image can be enhanced depending on which Intaglio-Type technique is used. Ultimately the image quality of any photographically generated halftone rests in the quality of the original negative.

File: Intaglio Inking and Printing

Intaglio Inking and Printing

Mix the Printing Ink

Daniel Smith Intense Black or #7 Standard Black Etchibg

with 10% Setswell or Easy Wipe Compound
Graphic Chemical Etching Black #514

add light plate oil to soften the ink when it is too stiff

Prepare Paper

soak printing paper (25 minutes or more)

Hang up paper to drip off excess water

Press between blotters

Paper should be damp and soft but not wet to the touch

Set up Press

set up the press

Drypoint 2 over 3 Hardground Etching 3 over 3.

Ink the Plate

Use scrap pieces of matboard or a felt dabber to spread the ink evenly and gently over the plate

Wipe the plate with used tarlatan and little pressure in a circular motion to remove most of the excess ink until the image is somehow clear yet hazy looking.

Follow with clean tarlatan

Follow-up with a use telephone yellow page over block to wipe (polishh) top surface without removing deeper areas. Gloves provide friction for effective wiping

Clean the plate edges with paper towel or old rag.

Proofing

Used paper for proofing

newsprint on press bed

It may be worth noting that the plate can be proofed at any point without the need to remove the Future.

Place the freshly inked and wiped plate on the neswprint press bed.

Position the printing paper , backing paper and the blanket.

Send the press through. The best prints are obtained from a freshly inked plate.

Lift the blanket, remove the print and place it on the drying rack or staple the wet proof to a wall made of homasote.

Remove the plate and clean the press bed with a few drops of alcohol.

Print Edition

You need to re-ink between each print pulled

Clean plate

With Vegetable oil (canola) , degrease with magnesium carbonate

Old method: clean the plate with paint thinner, follow up with alcohol, apply a thin coat of ground, and wrap with paper for storage.

Printing the Howard-type plate

The glass like surface of the ImagOn plate facilitates easy wiping during the intaglio printing procedure which is the same for conventional intaglio techniques. Because of the smooth finish of the ImagOn plate there will be virtually no plate tone present in the finished print. If a printmaker wishes to have a plate tone the plate should be briefly dry sanded with an electric palm finishing sander with a 320 grit wet-and-dry sandpaper. The coarser the sandpaper the greater will be the extent of the plate tone.

Print Yield

The print yield for one plate can be as much as 40 prints but the factors for print yield vary according to the how the plate is wiped, how much press pressure is used and the nature of the image printed. Images with a great deal of black areas have a tendency to break down first because these areas of the plate holds the smallest percentage of ImagOn emulsion. Making plates with small uninked boarders also extends the life of a plate because of the bridging effect the etching press roller has on the plate. For this same reason late 19 century mezzotint artists made borders on their plates.

The print yield for each plate is really determined by when the black areas of the print start to fade. Once this happens these black areas can be reworked with liquid ImagOn emulsion.

Final Edge Preparation for the ImagOn Plate

A final plate preparation can be done by beveling the edges of the ImagOn film on the plate with 320 grit sand paper and a small block of wood or electric finishing sander for bigger plates. The sanding block or finishing sander is held at a 45° angle at the edge of the plate. Sanding the edge of the ImagOn emulsion at the parameter of the plate can add a final crisp edge to the image. This final sanding may appeal to some printmakers who do not want the characteristic slightly jagged edge normally associated with the non-etch Intaglio-Type techniques. This final plate preparation will become more useful when working with more than one layer of ImagOn on the same plate as in the Layered-Howard-Type technique.

The ImagOn Plate is now Ready to be Printed in the Conventional Intaglio Manner.

Removal of the ImagOn from the Plate

After the image has been editioned the substrate can be completely reclaimed and recycled by firstly cleaning off the etching ink with vegetable oil and then soaking the plate in either a 1% caustic soda ash (lye) solution, or a 4% soda ash solution.

10 Grams of caustic soda (Sodium Hydroxide or Lye) is mixed with 1 liter of water and placed into a photo developing tray or vertical etching tank. Stripping time from 2 - 10 minutes. The stronger 4% soda ash stripping solution takes from 30 minutes to 2 hrs to strip ImagOn from the plate.

A more cost effective method of removing the ImagOn film is to leave the plate soak over night in old ImagOn developer. Some workshop conditions may necessitate the quick removal of the ImagOn film in which case the caustic soda stripping solution can be used. One alternative to wearing eye protection, when working with the developing and stripping solutions, is to work under a Plexiglas shield similar to the "sneeze" shields used in restaurant salad bars.

Soak the plate in one of the above solutions until the ImagOn lifts and then rinse the plate with water. A final cleaning can be done with Comet or Ajax Cleanser.

When mixing up the caustic solution do so outside or in a well ventilated area. Use rubber gloves and eye protection as both the caustic soda and soda ash liquids can cause permanent eye damage. As the stripping solutions are alkaline it is essential not to splash any of this liquid into your eyes and for this reason eye protection is strongly advised. If either of these solutions are splashed directly into your eyes flush immediately with water and seek medical advice .

Rubber gloves should be used to handle the plate in these stripping solutions.

Remove Mylar liner from ImagOn film
	remove the top plastic peel back layer from the film. The peel back layer is the inside surface of the natural curl. To remove the inside plastic peel back layer place the ImagOn film between the thumb and index finger and gently push your thumb away from your index finger so that the texture of your thumb print catches the edge of the peel back layer and causes it to roll backwards. This technique takes time and practice to master. An alternative method: dog ear a corner of the ImagOn film and rub this folded section against itself until the inside peel back layer separates from the ImagOn emulsion. Make sure that the inside peel back layer is removed and not the outside Mylar layer. The inside plastic peel back layer has a soft feel somewhat like Glad Wrap and the outside Mylar layer has a stiffer feel similar to cellophane.
Place ImagOn on Press bed with revealed "Sticky side up"
	placed onto a perfectly smooth surface This smooth laminating surface can be polished stainless steel or Lexan. If there is the slightest scratch or imperfection in the laminating surface this will be imprinted in to the ImagOn film and could be noticed in the finished print.
	Handle the ImagOn film carefully as mishandling causes dimples in the ImagOn film that can result in unwanted marks in the finished print.
Spray Alcohol Laminating Solution
	liberally spritzed with a plant mister containing a lamination solution Laminating solution = required in dry climates Not needed in damp climates	Recommended laminating solution: 1 part rubbing 70% isopropyl rubbing alcohol mixed with 3 parts water
	it is possible to adhere ImagOn with just water. If water is used as the lamination solution it is advisable to allow the plate to dry for several hours before using it. Some pre-etched or reworked surfaces may require a stronger alcohol water mixture to cause the ImagOn to stick more effectively. The more alcohol that is present in the spray the more difficult it is to work with because the ImagOn will stick to the plate too quickly.

Place prepared plate prepared side down onto ImagOn Film
Replace mylar covering or place newsprint over plate and film
	Replace mylar covering or newsprint over the plate to protect the press blankets from the Imagon adhesive
Run through press
	lower etching blankets over the entire plate run through the press in the same manner in which a print is made from an inked plate. slowly. The speed of the press bed moving through the press rollers, during lamination, should be roughly one foot every 12 seconds. Normal etching blankets are used and the pressure of the press is set slightly tighter than what would be required to print a fine aquatint.
Trim edges of film around plate
	final trimming to ensure that the ImagOn emulsion is cut flush with the edge of the plate. trimming knife has a very sharp blade cut down on the ImagOn film in such a way that the cutting action will not cause the edges of the ImagOn film to lift away from the plate.	Do not discard the ImagOn film trimmed from the plate these small pieces of ImagOn can be recycled. See "Liquid ImagOn for Reworking the Plate".

	General
		ImagOn Film (fromerly Riston) developed by DuPont sold by Praga Utility knife Soda Ash (sodium carbonate). The best source of supply for soda ash can be found in swimming pool chemical supply firms. Also sold as Arm and Hammer Washing Soda. Gram scale. Approximate measurements can be done with a teaspoon. Liter measuring beaker. Caustic Soda (NaOH) can be purchased commercially as Lye. Rubber gloves and eye protection. Plant spray mist bottle. Etching press. Conventional etching inks and paper. Two photo developing trays large enough to accommodate your plate. Dish washing sponge.
	Student Provided
		Utility knife Dishwashing Gloves for ImagOn developer Plates paper.
	Studio Provided
		Alcohol Laminating Solution Some Reusable Plates Soda Ash (sodium carbonate). The best source of supply for soda ash can be found in swimming pool chemical supply firms. Also sold as Arm and Hammer Washing Soda. Caustic Soda (NaOH) can be purchased commercially as Lye. Rubber gloves and eye protection for Caustic Soda Solution. Conventional etching inks Two photo developing trays large enough to accommodate your plate. Dish washing sponge. Rubylith

*Studio Lighting for Using ImagOn Film*
	Studio Lighting for Using ImagOn Film
		ImagOn film is sensitive to high intensity Ultra Violet (UV) light precautions should be taken to ensure that the ImagOn film does not get exposed to UV light while cutting the film and preparing the plate. lighting conditions can be very flexible. In fact almost any studio with ambient lighting can be used without fear of exposing the ImagOn film provided that the preparation process is carried out in less than 30 minutes. The most important thing is to shield the ImagOn film from direct sunlight. If a window in your studio is causing too much sunlight to flood in then it is advisable to cover the window with red or yellow plastic translucent shower curtain. An alternative to covering the window is to prepare the ImagOn for the plate under incandescent light. The prepared plate then can be covered with a sheet of Rubylith film or some opaque surface and transported to the etching press for lamination. After the felt etching blankets have been lowered onto the ImagOn film and plate, prior to running it through the press, the Rubylith film can be removed. After lamination similar light protection precautions can be taken for the further steps in the plate making procedure.

	Exposing ImagOn
		Various types of Ultra Violet (UV) light sources Can be used to expose the ImagOn film to the art work. Sunlight Can be used but it is almost impossible to obtain consistent results. Exposure times that vary from a few seconds to a few minutes depending on the season and the time of day. Commercial exposure units Exposure times that also vary from seconds to a few minutes For optimal results it is important to have absolute control over exposure. a good vacuum frame used in conjunction with the exposure unit is critical. Perfect contact between the halftone film positive or art work and ImagOn emulsion is required.

	Develop
		Remove the Top Mylar from the ImagOn Coated Plate. brush your open palm backwards against the edge of the ImagOn coated plate to lift the edge of the mylar. Once edge is lifted, remove it from the plate. Developing Solution = 10 g. soda ash / 1 liter water ImagOn Developing Solution - anhydrous variety of soda ash powder (sodium carbonate) available from swimming pool chemical supply companies. 10 grams of soda ash powder (approximately one level teaspoon) is added to a small amount of hot water until the powder has dissolved. Room temperature water is then added to this dissolved soda ash solution to make a volume of 1 liter. The working temperature of the developing solution should be between 65-70?F. This solution is then added to a photo developing tray. Photo Developing Tray Developing ImagOn If the top Mylar has not been removed this must be taken from the surface of the ImagOn coated plate before development. Place the ImagOn plate in to the developing solution and rub the surface with a dish washing sponge for about 2 minutes. Knowing precisely when the image is developed is a matter of experience based on visual inspection and the tactile feel of the image during this developing stage. It is the unexposed areas of the ImagOn that washes away in the developing solution. After the unexposed ImagOn is washed away valleys and grooves are left in the ImagOn emulsion that are characteristic of the intaglio plate. All of the ink for the intaglio print is carried within the depth of the film layer. For lighter areas of ink, you will not see the copper plate below. Rinse under room temperature running Water and squeegee off remaining water. Allow plate to completely dry or force dry with a hair-dryer or drying cabinet	It is advisable to wear dish washing gloves for the development procedure as repeated use of the developing solution can dry out the skin which may initiate a dermatitis reaction on the hands. As the developer is an alkaline solution it is essential not to splash any of this developing solution into your eyes and for this reason eye protection is also advised.

	Light Harden the Plate
		Flash plate for about one minute in exposure unit or for about 30 minutes in the sun Before the plate can be inked final light-hardening to completely harden the ImagOn emulsion. Failure to do this may result in the etching paper sticking to the surface of the ImagOn plate during the printing procedure. The actual time a plate can be light-hardened can vary from double the exposure time required for a halftone image to far longer exposures. A long exposure will neutralize the blue color of the ImagOn film. The longer the ImagOn plate is left for this light-hardening the lighter the blue pigmentation of the ImagOn emulsion becomes. If a plate is left for this light hardening long enough the blue pigmentation of the ImagOn emulsion disappears entirely revealing only the color of the substrate. This may appeal to those printmakers who like to be a be able to see the color of their etching plate during inking. The minimum light-hardening times for the 1000W Metal Halide exposure unit would be 20 seconds and for the 400 W Mercury Vapor exposure unit would be 90 seconds. Sunlight can serve to light-harden.

	Exposure Times
		The actual exposure time for halftones and wash drawing varies considerably. The success of the Intaglio-Type techniques depends on two basic factors; 1. How well the halftone or continuous tone is made; 2. How long the halftone/continuous tone or art work is exposed in the exposure unit. Exposure tests should be made to determine what is the optimum exposure time for either a photographic halftone tone or art work. The best results occur when the complete range of tonality is achieved in the finished image. If the lighter grays of the image are dropping out then the exposure is too long. If the blacks are also dropping out then the dot structure of the halftone in these areas may be too congested or the exposure may be too short. These aspects must be in balance for optimum image clarity in the finished print.
	Determining Exposure
		ImagOn represents a unique image enhancement alternatives that are not possible with any other techniques. ImagOn has the ability to compensate for halftones that are flawed or deficient in tonality. The Layered-Howard-Type and various methods outlined for reworking the plate does allow you to create and hold black inked areas that may not have been apart of the original image. Some areas of an image can be enhanced depending on which Intaglio-Type technique is used. Ultimately the image quality of any photographically generated halftone rests in the quality of the original negative.

	Mix the Printing Ink
		Daniel Smith Intense Black or #7 Standard Black Etchibg with 10% Setswell or Easy Wipe Compound Graphic Chemical Etching Black #514 add light plate oil to soften the ink when it is too stiff
	Prepare Paper
		soak printing paper (25 minutes or more) Hang up paper to drip off excess water Press between blotters Paper should be damp and soft but not wet to the touch
	Set up Press
		set up the press Drypoint 2 over 3 Hardground Etching 3 over 3.
	Ink the Plate
		Use scrap pieces of matboard or a felt dabber to spread the ink evenly and gently over the plate Wipe the plate with used tarlatan and little pressure in a circular motion to remove most of the excess ink until the image is somehow clear yet hazy looking. Follow with clean tarlatan Follow-up with a use telephone yellow page over block to wipe (polishh) top surface without removing deeper areas. Gloves provide friction for effective wiping Clean the plate edges with paper towel or old rag.
	Proofing
		Used paper for proofing newsprint on press bed It may be worth noting that the plate can be proofed at any point without the need to remove the Future. Place the freshly inked and wiped plate on the neswprint press bed. Position the printing paper , backing paper and the blanket. Send the press through. The best prints are obtained from a freshly inked plate. Lift the blanket, remove the print and place it on the drying rack or staple the wet proof to a wall made of homasote. Remove the plate and clean the press bed with a few drops of alcohol.
	Print Edition
		You need to re-ink between each print pulled
	Clean plate
		With Vegetable oil (canola) , degrease with magnesium carbonate Old method: clean the plate with paint thinner, follow up with alcohol, apply a thin coat of ground, and wrap with paper for storage.

	Printing the Howard-type plate
		The glass like surface of the ImagOn plate facilitates easy wiping during the intaglio printing procedure which is the same for conventional intaglio techniques. Because of the smooth finish of the ImagOn plate there will be virtually no plate tone present in the finished print. If a printmaker wishes to have a plate tone the plate should be briefly dry sanded with an electric palm finishing sander with a 320 grit wet-and-dry sandpaper. The coarser the sandpaper the greater will be the extent of the plate tone.
	Print Yield
		The print yield for one plate can be as much as 40 prints but the factors for print yield vary according to the how the plate is wiped, how much press pressure is used and the nature of the image printed. Images with a great deal of black areas have a tendency to break down first because these areas of the plate holds the smallest percentage of ImagOn emulsion. Making plates with small uninked boarders also extends the life of a plate because of the bridging effect the etching press roller has on the plate. For this same reason late 19 century mezzotint artists made borders on their plates. The print yield for each plate is really determined by when the black areas of the print start to fade. Once this happens these black areas can be reworked with liquid ImagOn emulsion.
	Final Edge Preparation for the ImagOn Plate

		A final plate preparation can be done by beveling the edges of the ImagOn film on the plate with 320 grit sand paper and a small block of wood or electric finishing sander for bigger plates. The sanding block or finishing sander is held at a 45° angle at the edge of the plate. Sanding the edge of the ImagOn emulsion at the parameter of the plate can add a final crisp edge to the image. This final sanding may appeal to some printmakers who do not want the characteristic slightly jagged edge normally associated with the non-etch Intaglio-Type techniques. This final plate preparation will become more useful when working with more than one layer of ImagOn on the same plate as in the Layered-Howard-Type technique. The ImagOn Plate is now Ready to be Printed in the Conventional Intaglio Manner.

	Removal of the ImagOn from the Plate
		After the image has been editioned the substrate can be completely reclaimed and recycled by firstly cleaning off the etching ink with vegetable oil and then soaking the plate in either a 1% caustic soda ash (lye) solution, or a 4% soda ash solution. 10 Grams of caustic soda (Sodium Hydroxide or Lye) is mixed with 1 liter of water and placed into a photo developing tray or vertical etching tank. Stripping time from 2 - 10 minutes. The stronger 4% soda ash stripping solution takes from 30 minutes to 2 hrs to strip ImagOn from the plate. A more cost effective method of removing the ImagOn film is to leave the plate soak over night in old ImagOn developer. Some workshop conditions may necessitate the quick removal of the ImagOn film in which case the caustic soda stripping solution can be used. One alternative to wearing eye protection, when working with the developing and stripping solutions, is to work under a Plexiglas shield similar to the "sneeze" shields used in restaurant salad bars. Soak the plate in one of the above solutions until the ImagOn lifts and then rinse the plate with water. A final cleaning can be done with Comet or Ajax Cleanser.	When mixing up the caustic solution do so outside or in a well ventilated area. Use rubber gloves and eye protection as both the caustic soda and soda ash liquids can cause permanent eye damage. As the stripping solutions are alkaline it is essential not to splash any of this liquid into your eyes and for this reason eye protection is strongly advised. If either of these solutions are splashed directly into your eyes flush immediately with water and seek medical advice . Rubber gloves should be used to handle the plate in these stripping solutions.