My enquiry into embodied mark making required a process that could hold tonal depth, physical making and subtle surface variation. Photogravure is a way for me to bridge the gap between digital images and tactile, intaglio surfaces.
Rather than traditional copper plate gravure, I have chosen to centre my investigation on contemporary polymer photogravure. This is a newer replacement for the traditional copper plate which opens up a world of freedom to me in terms of practicality and conceptual relevance.
Clay Harmons manual on polymer photogravure has been foundational to exploring this process and learning about contemporary artists that push the limits of what’s possible with direct to plate printmaking.
Rather than traditional methods of etching using acids, the photopolymer plate, once exposed under uv light, is simply rinsed with water and a calcium carbonate solution. Safety is a very basic but real concern in the studio. The speed and ease at which I can print a plate from my home printer means I can devote a significant amount of time to drawing and process. I have an etching press at home and I’ve been regularly getting to grips with its mechanics to build skill and confidence in the printing process. For the time being I’ve focused on mono printing and dry point technique. I feel this has been a necessary foundation to solidify before moving forward with polymer plate sample prints.
Clay Harmon is an American photographer who an expert in the direct-to -plate photopolymer printing process. Engaging with his book on the subject has given me a thorough grounding in the practicalities of materials required, plate exposure, and use of digital stochastic screens. There is much to learn on his blog and in this book a world of detailed information on software required and the digital skills involved in mastering accurate tones and calibration.
Getting to grips with Quad Tone RIP software has been a real laborious study, but an important stepping stone for my practice. The digital to physical workflow means the initial tonal curves have to be correct from the source image, from the very initial stage of the process.
Every step needs skill and patience in considering decisions which will affect the final print outcome. I’ve realised how early I need to consider tonal range in a source image and its translation on the printing press. I’m now considering this at a much earlier stage..even when I’m taking photographs I’m now considering and making decisions with a thought about its translation into ink and paper.
This technical framework sets the foundations on which I’ll build a reliable, consistent photogravure practice. It’s been necessary to spend time really getting to grips with the nuts and bolts of a sense of digital precision before I tackle the hands on process. It’s been tempting to skip ahead but I realise that rigour is an essential part of active research process. So while all of this is not what I usually am drawn to in research, its built the basis of a solid at home digital to paper workflow.
