hand printed books using photopolymer plates - … · washout in tepid water with cellulose sponge....

Dianne Longley - SGC Conference - 2004

HAND PRINTED BOOKS USING PHOTOPOLYMER PLATES - diverse technical processes - Dianne Longley, Lecturer and Print/Book ArtistSOUTHERN GRAPHIC COUNCIL CONFERENCE, Rutgers Center for Innovative Print and Paper, 2004

In her demonstration Dianne will discuss and show examples of artist books and folios produced using photopolymer plates. She will take you through the variety of ways in which photopolymer plates can be used; from high tech stochastic screening on digital images, to simple hand drawn images. You will see the digital files, the film positives/negatives, exposed plates and printed images/books/folios used for relief, intaglio and letterpress printing. Different types of photopolymer plates (Miraclon, Printight, Torelief) used for specific purposes will discussed. During this session you will journey through a range of technical possibilities. There are many ways of using photopolymer plates, which makes them such a great resource for the book artist.

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Using very fine stochastic (random dot screen) or halftone screens creates a range of possibilities for creative expression, but there are some related processing difficulties. I find the major problem is getting a plate with no dust flares (small light areas on the plate where dust or grit has created a halo of overexposed plate). I share my studio with Pinky, my cat, and even though I take many precautions dust flares on the plate can be seen as soon as you dry the plate in front of the fan heater.

It is sometimes easy to get the correct exposure, and sometimes difficult. If you are using the same type of image and film and UV unit and brand of photopolymer plate each time you are reducing the range of variables and your ability to get the right exposure quickly will be greater.

But we all like to experiment, and try new plates and types of film. I can only suggest that doing a range of test plates is the best way to determine the optimum exposure and washout for your image. Even the type of printing paper you use will influence the printed result. Very soft papers (not a lot of surface size) work beautifully with photographic photopolymer plates.

I do a range of experimentation on small plates which informs my processing of larger plates. I have been using mainly Miraclon lately, because it does really well for most processes.

In the demonstration you will see artist books/folios:

The Golden Rose folioContingent Ambiguity folioApperception, a symbolic narrative

and the experimental prints showing relief photopolymer, and intaglio photopolymer processes:

Tomorrow I, relief halftone Tomorrow II, intaglio halftoneYesterday I, intaglio stochastic (cristal raster) screenYesterday II, intaglio random dot inkjet film

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Contingent Ambiguity was printed using a variety of techniques, including intaglio photopolymer printed using stochastic screen film positives printed at a film lab. The essay and colophon pages were printed using letterpress techniques with photopolymer plates. Black and white Somerset papers were used, and glassine paper was also printed and used as interleaves between the printed images.

The Apperception, a symbolic narrative book was printed in multicolours, from etched zinc plates onto Awa Japanese paper. The text was letterpress printed from lead type and on some pages this was combined with relief photopolymer plates.

Artist Books using Relief Photopolymer Images, Intaglio Photopolymer Images, and Letterpress Graphics

The Golden Rose folio was produced in 1995 using hand drawn and found visual elements, which were manipulated in Adobe Photoshop. The digital files were taken to a film printing lab, and 110 lpi halftone film negatives, right reading emulsion up, were printed.

Torelief WS95 photopolymer plate was used to make the plates. These were printed in relief, using a very thin layer of ink on the glass, and a firm roller which covered the plate in either one or two passes over the plate.

The inked plates were printed on slightly dampened 300gsm Velin Arches through an etching press with felts. Some hand colouring was added.

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Drawings and Film Negatives used to Produce Letterpress Graphics

Top Left:Film negative produced by a film bureau from the technical pen drawing on drafting film below.

Bottom Left:Torelief WS95 plate produced from the film negative and printed in Apperception, a symbolic narrative.

Bottom Right:Torelief WS95 plate produced from the film negative and printed in Apperception, a symbolic narrative.

Above:Film negative produced by a film bureau from the technical pen drawing on drafting film beside it.


Tomorrow 1 - Test Relief 1a and Test Relief 2a.

This small print was created using a similar technique to the production of The Golden Rose folio.

A digital file was created using drawn and found visual elements. The file was taken to a film printing lab, and an imagesetter printed a film negative, 120 lpi halftone film negative, right reading emulsion up. This was exposed onto Miraclon MS94 plates using a vacuum fluorescent UV unit. Washout with cellulose sponge in tepid water. Drying for 10 minutes in front of a warm fan heater. Post exposure for 5 minutes in UV unit.

Each plate was processed in the same way, except that the exposure was shortened for the Test 2a plate.

Test Relief 1a. Tomorrow ISingle exposure of 240 seconds (14 Stouffer Wedge reading). Plate relief printed with a very thin layer of Van Son rubber based ink, through an etching press.

Result: good in most areas but a lack of detail in the dark areas.

Test Relief 2a. Tomorrow ISingle exposure of 160 seconds. Plate relief printed with a very thin layer of Van Son rubber based ink, through an etching press.

Result: more plate washed away creating additionsl


Tomorrow 1 - Test Relief 1b and Test Relief 2b.

In this instance I wanted to test the same plates, but relief ink them in a more transparent ink

Test Relief 1b. Tomorrow ISame plate as in Test 1a, printed this time with 50:50 ink to pantone white. Plate relief printed with a very thin layer of Van Son rubber based ink, through an etching press.

Result: increased detail in the darker areas.

Test Relief 2b. Tomorrow ISame plate as in Test 1b, printed this time with 50:50 ink to pantone white. Plate relief printed with a very thin layer of Van Son rubber based ink, through an etching press.

Result: increased detail in the darker areas.


Tomorrow II - Test Intaglio 3a, 3b

The same digital file was used as for Test 1a and Test 1b, but I had a film positive made instead of a film negative, 120 lpi halftone film positive, right reading emulsion up. This was exposed onto Miraclon MS94 plates using a vacuum fluorescent UV unit. Washout in tepid water with cellulose sponge. Drying for 10 minutes in front of a warm fan heater. Post exposure for 5 minutes in UV unit.

Each plate was processed in the same, except that the exposures were different for each plate.

Test Intaglio 3a. Tomorrow II240 second exposure

Result: Lacking detail in dark areas, with some dust flares. Good blacks/shadows, with no washout in these areas. Dot screen from lab film on plate allowed for a long exposure. There was 7% white in the black areas, which allowed the plate to retain detail in the shadows. The dot structure on the plate is quite deep so the plate holds a lot of ink.

Test Intaglio 3b. Tomorrow II360 second exposure

Result: Still lacking detail in dark areas, but fractionally better than 3a.


Test Intaglio 3c. Tomorrow II40 second, random dot screen240 film positive

Result: Some dust flares, but greater detail in the dark areas.

Test Intaglio 3d. Tomorrow II240 second, random dot screen40 film positive

Result: Greater detail in the dark areas, very similar to 3c.

Tomorrow II - Test Intaglio 3c, 3d

The same digital file was used as for Test 1a and Test 1b, but I had a film positive made instead of a film negative, 120 lpi halftone film positive, right reading emulsion up. This was exposed onto Miraclon MS94 plates using a vacuum fluorescent UV unit. Washout in tepid water with cellulose sponge. Drying for 10 minutes in front of a warm fan heater. Post exposure for 5 minutes in UV unit.


Here I was not only testing to create more detail in the shadow areas by using a double exposure with a stochastic (random dot screen), but I wanted to see if it made any difference to do the stochastic screen first or second.

Analysis of the look of a print where a stochastic screen is done first or second - what difference does it make? This was an interesting test as I had never done this before to see if there was a difference, and if so what the differences were.

Using the stochastic screen first gives the image a softer, non-grain feel. When using the stochastic screen second the dot screen is still slightly evident (to my naked eye) and the image has a slightly crisper look, and slightly more detail in the shadow areas.


Test Intaglio using Stochastic Film Positive from Lab 4a, 4b, 4c.

Top left:Test Intaglio 4a. Yesterday I360 exposure stochastic film positive.Result: Dust flares, exposure good, blacks inking very evenly. Plate washed out in darker areas in lace flowers in image and border area. Plate holding a lot of ink.

Top right:Test Intaglio 4b. Yesterday I40 first exposure random dot screen.240 second exposure stochastic film positive.Result: Problem with contact between film and plate, light area in middle of plate. Some washout in border area. Less contrast in the mid-tones and three-quarter tones.

Test Intaglio 4c. Yesterday IBottom right:360 first exposure stochastic film positive.160 second exposure stochastic film positive with mask over dress.Result: No dust flares, and the background show greater detail and a little more contrast. Plate washed out in darker areas in lace flowers in image and border area. Plate does not hold as much ink.


Test Intaglio using Inkjet Film Positive from Epson C82 printer 5a, 5b.

For these tests I used a digital image which combined fabric textures, and a digital baby dress and flowers. For Test 4a, 4b, 4c I used a film positive which was printed at a film lab incorporating a stochastic screen. For Test 5a, and 5b, I used a film which was printed using a transparency film through an Epson C82 inkjet printer.

These films were exposed onto Miraclon MS94 plates using a vacuum fluorescent UV unit. Washout in tepid water with cellulose sponge. Drying for 10 minutes in front of a warm fan heater. Post exposure for 5 minutes in UV unit.


Test Intaglio 5a. Yesterday II120 exposure

Result: Exposure too long. Dress mottled. Washout occurring in dark areas on lace flowers in image and in border.

Test Intaglio 5b. Yesterday II90 exposure using a film that has had the black areas lightened slightly in Photoshop.

Result: Border a little uneven, but the exposure and washout of plate very good.

Analysis of dense/opaque film positive from a film lab/bureau compared with a film positive printed on an inkjet printer.

As long as you have a good quality inkjet printer you can print film positives for photopolymer printing. Because they are semi-opaque they require a shorter exposure than lab/bureau film. If you have dark areas which are washing away you can either do a double exposure or alter the film by lightening the dark areas using Adobe Photoshop and then print the film again, adjusting the esposure to get a good single exposure.


Notes on the Processes for the Experimental Plates Tomorrow I & II, and Yesterday I & II

Problem:Dust flares on plateSolution:Use your fingers to remove any dust or grit from the surface of the plate or film. An anti-static cloth can be useful to remove dust without adding static electricity. Ensure that when you put the plate and film onto the UV unit that there is no dust or grit between the film and the plate or between the film and the glass or diffusion film of the UV unit.

Problem:How long to wash the plate?Solution:Halftone and stochastic films create photopolymer plates with such tiny dots that they take only a short time to wash out. Miraclon MS94 plate is washed in tepid water with a cellulose sponge.

Problem:When the relief plate is printed the plate lacks detail (is too dark) in the three-quarter tones/shadows.Solution:Decrease the exposure time as on a relief plate you want more of the plate to wash away.

Problem:When the intaglio plate is printed the plate lacks detail (is too dark) in the three-quarter tones/shadows.Solution:Increase the exposure time as you want more of the plate to remain to create detail in the dark areas.

Problem:Areas of film positive are so dark that the corresponding areas on the photopolymer plate cannot receive enough exposure to prevent them from washing away.Solution:If using a hand-drawn film, scratch into the dark areas to open them up to some UV light.Solution:If using a photographic or digital or hand-drawn image use a random dot screen and a double exposure to give increased exposure to the shadow areas to prevent them from washing away.Solution:Use Adobe Photoshop to lighten the very dark areas and reprint the film positive. (This is easily managed when printing your own inkjet film, but having to have film reprinted at a lab is expensive.)

Optimally speaking film positives for photopolymer printing you should have about 7-10% white in the blacks and 7-10% black in the white areas. There are many different ways to do this using Adobe Photoshop. (Or maximum black (K) reading with the Eyedropper Tool in the Info palette should be about 90-93% in the dark/shadow areas, and minimum black (K) reading in the highlights should be 7-10%.) Use Edit Fill on Lighten or Darken mode for 7-10% or use the Curves window, or use the Magic Wand to select the area and lighten or darken accordingly.

Problem:Streaks on the plateSolution:Ensure that you have removed all surface moisture from the plate after washout by using a really well squeezed out sponge.


Problem:Plate is very stickySolution:Dry the plate for increased time in front of a fan heater on warm (not hot).Increase the length of the post exposure in the sun or in the UV light unit.

Problem:Lack of detail in a relief plate when printedSolution:You may have too much ink rolled out on the glass, or when you are rolling the ink over the plate you are pressing too firmly. Just allow the weight of the roller to pass over the plate. The paper may be too wet. The paper should be only slightly damp.

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