Direct To Plate Photopolymer

Photogravure
Jon Cone • Sep 5, 2018

This photo narrative is about Cone Editions Pressʼ Direct-to-Plate

Photopolymer-Photogravure process. It is both a re-invention of solar plate
intaglio and a re-invention of aquatint photogravure. If youʼre interested in
having Cone Editions produce photopolymer photogravure plates for you – you
can view this page. If you want to buy unexposed solar plates from InkjetMall –
your can buy them here. Otherwise, we hope you enjoy the following read…

Pulling of a photogravure print by Pieter Hugo at Cone Editions Press in East

Topsham, Vermont.

A little background…. Photogravure is a traditional photo-intaglio process that

was invented by William Henry Fox Talbot in 1850. Talbot found that gelatin
sensitized with potassium dichromate would harden when exposed to light. This
gelatin affixed to copper allowed him to expose a film positive and etch the
copper plate, eventually printing the image with intaglio (etching) ink. He found
that he had to break up the image into “dots” in order to roughen the copper so
that it would leave something for the ink to cling to when the plate was bitten
with acid. Talbot eventually discovered that powdered resin could be melted
onto the copper plate to act as the “dot” .

This technique of using powdered resin is known as aquatint when applied to

intaglio. His photogravure process could render fine detail and tone. Later, his
process would be better refined by Karl Klíč who used dichromate sensitized
carbon tissue which transferred the image to the copper allowing for better
control of deeper tones.

Fox Talbot – Branch of a Fern, circa 1860. Aquatint Photogravure

During the 1980s, when Cone Editions was located in Port Chester, NY it
specialized in the Talbot-Klíč dust grain photogravure process. In terms of
lineage; Jon Cone learned the process from Eric Great-Rex who learned the
process from Jon Goodman. Cone Editions collaborated with artists who were
working and exhibiting in New York City. Cone Editions was a multi-discipline
atelier offering copper-plate photogravure, intaglio, screenprint, woodcut,
monoprint and computer printmaking (beginning 1984).

Many of the aquatint copper plate photogravures printed at Cone Editions were
made from the artistsʼ hand painted and drawn film positives. This was
something quite novel during that time. The studio collaborated mostly with
painters and sculptors in the 1980s and often these photogravures formed the
beginning of further intaglio techniques such as in the work with Lester Johnson
and David Humphrey.

David Humphrey, Lies, 1987. On the left is a computer generated aquatint

gravure. On the right combines aquatint photogravure with an additional spit
bite plate in red ink.

Collaborating with Carol Seborovski, the studio produced a suite of aquatint

copper plate photogravures using her charcoal and graphite drawn tissue paper
in place of film. Two of the five prints are in the MOMA permanent collection
and can be requested for viewing at the Dept. of Prints and Drawing: Two ‘Tʼ
Shapes, 1986 and Cast Shadows, 1986. The entire suite of five is a remarkable
example of the sensitivity of the aquatint photogravure process. The plates
were made with much difficulty by Jon Cone and Eric Great-Rex. The drawn
tissue used in place of film presented a density range that was beyond the
conventional specifications of the sensitized carbon tissue used in the process.
It was not unusual for them to re-make the plate 4 or 5 times in order to realize
the nuances of the drawn tissue. Traditional gravure editions would take months
to print by hand after spending months proofing with the artist.

Carol Seborovski – Two ‘Tʼ Shapes and Cast shadows, 1986. Aquatint
Photogravure. Printed at Cone Editions.

You can view these two prints online in large size here and here. If you zoom in
you can see the aquatint used to form the image. It is rendering the fold marks
in the tissue, the tissue itself, and the charcoal and graphite drawing on the
tissue.

Today, most copperplate photogravures are produced using an exposure screen

(fine half-tone or mezzotint) that produces the dot that permits the acid to bite
progressively rougher tones into the copper plate according to how dark the
overlaying positive film is. Melting powdered resin (aquatint) onto the copper
plate in place of using an exposing screen produces a less mechanical look
because the powered resin falls onto the plate in a random manner. But,
aquatint photogravure is exceedingly expensive and time-consuming to make.
Two well known photographers associated with contemporary copper plate
photogravure are Sally Mann and Chuck Close.

Chuck Close, Self Portrait, 2005. Photogravure. Printed at Graphic Studio.

The toxicity of the traditional materials and the Cone Editionsʼ subsequent move
from New York City to Vermont in 1989 made it an impractical process for
“country plumbing” and Cone Editions discontinued offering it in 1992. Cone
had been pioneering digital printmaking in the early 1980s and was transitioning
away from traditional printmaking. In 1992, Cone Editions introduced inkjet
transfer printing and digital monoprint using the etching press. The etching
presses was finally put into storage about 1998 where it remained until January
of 2018.

MOVING FAST FORWARD… In January 2018, Cone Editions began to develop

a process of photogravure using non-toxic photopolymer plates instead of the
dichromate sensitized carbon tissue and copper. Other studios have been using
photopolymer plates and exposing screens for years. Cone Editions set out to
design software that would permit it to produce a calibrated direct-to-plate
printing method that replicated the look of melted aquatint dust. Direct-to-plate
means using an inkjet printer to print a positive image directly onto the
unexposed photopolymer plate.

Direct-to-plate photogravure was not new in 2018. But, those practicing it were
dependent upon using the Epson printer driver which has a very ordered dither.
Still, the works being produced in that manner were comparable in many ways
to copper plate photogravure made with fine exposing screens. What Cone
Editions intended to do was take it further and emulate the Talbot-KlÃ​č dust
grain photogravure process in order to produce a higher fidelity reminiscent of
their 1980s process. In order to do this, the studio needed to develop their own
printer driver and they might as well (in their thinking) develop a calibration
system so that the photogravures matched an image on their or their
customerʼs computer display. The studio already produces the highest fidelity
digital negative system PiezoDN which they market through InkjetMall.

The benefits of printing the “positive” directly to plate instead of using a film
positive or/and an exposing screen are numerous. Firstly, extremely tiny dots of
ink can be printed directly on the plate rendering much higher acuity than when
using film. This acuity is further heightened because there is absolutely no light
diffusion from exposing through film or and through glass (as vacuum is not
needed). The pin point accuracy permits dots to be etched that are much finer
than any available exposing screen. Cone Editionsʼ proprietary printer driver
varies the dot size in a pseudo random pattern and achieves an effect that looks
like aquatint dust and is both controllable and repeatable.

Early trialing process to determine the limitations of inkjet density, dot size, and
dMax.

This test is determining how much “digital aquatint” is too much or too little to
produce a deep black.

The Cone software is in two parts. A proprietary printer driver has been
produced that far exceeds the capability of the Epson printer driver. For
example, where Epson limits its printer driver to 2880dpi the Cone Editions
printer driver can produce 5760dpi. A non-standard dithering algorithm is
employed that imitates the irregularity of fine aquatint when the print head
sprays inkjet dots. The driver is channel independent which means the studio
has control over what each “color” position of an inkjet printer is loaded with
and how it reacts to data input.

Walker Blackwell codes the studioʼs software for calibrating direct-to-plate

photogravure.

The second part of the software is a calibration system that creates inkjet
independent channel ink descriptor settings that will produce a match to a
display image according to any combination of printmaking paper and any
mixture of conventional pigment etching ink. These channel descriptor settings
are produced in 16 bit per each ink channel. Epson printers can have up to 10
channels per printer. These descriptor files function a bit like a combination of
printer settings, lookup tables, and “profiles”. Their function is to linearize the
positive image that is printed to the photopolymer plate so that when the
developed plate is inked by hand and printed on the etching press, the end
result matches the computer display and renders 256 separated values of gray
from dMin to dMax. The complex dithering patterns have an effect on
calibration, but are controlled in the printer driver.

Beta 1.0 was already separating 256 gray values. The next step was working
with unordered dithering patterns to replicate the effect of aquatint.

512 gray patches intaglio printed are read into the studios proprietary profiling
software to produce ink descriptor files and an ICC to match the display.

The printer chosen in January for this project was an Epson Pro 9900. In May,
the studio switched to an Epson SureColor P6000 large format printer. Although
the SureColor is locked in North America against the use of non-Epson ink
cartridges, one of the world’s leading semi-conductor companies
produced prototype chipped cartridges for this project that permit Cone
Editions to install a set of special inks into refillable cartridges. P6000-
P9000 cartridges and chips are scheduled to be sold at InkjetMall in October.
However, the new photogravure process will remain as an online platemaking
and printing service until the studio decides whether to license it to others.

An image is printed in UV Opaque inks that act as both the film positive and the
“aquatint”.

The plate is ejected without any evidence of roller marks. Three inks are used to
print different sized dots.

The inkjet inks used to print the positive onto the photopolymer plate have been
formulated by Cone Editionsʼ sister company, Vermont PhotoInkjet to be
especially absorbative of UV light. The three gradated shades produce dots of
varying size and density. One of these inks is pure carbon pigment and is
already being sold at InkjetMall. It is perfect for direct-to-plate printing using the
Epson driver. It is called UltraHD matte black and is the worldʼs darkest matte
black ink.

The plate gets inspected for any printing anomalies. The final photogravure
print is a direct reflection of the quality of the inkjet printing of the plate.

After the positive image is printed to plate, a brief drying period is necessary
before exposure. There is an optimum exposure for these plates that needs to
be calibrated in order to allow both the smallest and the largest dots to etch in a
very precise manner. The etching is achieved with simple water near room
temperature. The polymer that is washed away contains only trace amounts of
non-toxic material making it safe for “country plumbing”. The rest of the process
can be seen in the following photographs. It is remarkably similar to copper
plate photogravure once the plate is ready to be printed on the intaglio press.

The studio converted its UV vacuum machine to expose when the cover is in the
“wrong position” and rare earth magnets hold the photopolymer plates
securely.

The vacuum top is flipped wrong side down so that the plate can be exposed
without subjecting the operator to UV.

The steel backed KM 73 plate gets a brief exposure to 3000 watts of doped UV
light.

SOME MORE BACKGROUND… In 2011, Don Messec (the inventor of direct-to-

plate) invited Jon Cone to put his spin on the process. Cone blogged about his
visit to Santa Fe to see the process. Don Messec is the founder of Making Art
Safely and one of the first and most influential protagonists of non-toxic
printmaking. 20 years had passed since Cone gave up toxic printmaking and
although intrigued by the idea, Cone did not see himself heading backwards to
an etching press and direct to plate went to the back burner – even as Cone
joined the teaching staff at Donʼs Making Art Safely workshops.

Then in 2017, Cone learned that his printmaking mentor, Mary Manusos, was
retiring from the Ohio University Printmaking Department. Jon and Cathy Cone
attended Maryʼs retirement party and Jon had the occasion to honor Mary with
a short slide presentation and talk. The Cones met at the School of Art and
returning to their roots was very inspiring. The decision to throw all of Cone
Editions Press resources at direct-to-plate was made during that nostalgic visit
with the idea of creating a process that Mary could do in her own studio in San
Diego. Romantic nostalgia can be a powerful agent in creativity.

European direct-to-plate printmaker Stig Stasig was incredibly generous with

his experience with photopolymer plates. There are at least five major
producers of photopolymer plates and each has its own limitations and qualities
which needed to be programmed and formulated for. Cone Editions settled on
the Jet KM 73 plate. And InkjetMall is now selling these unprocessed plates to
printmakers in the USA who practice solar etching and photopolymer
intaglio. Workshops are planned in 2019 at Cone Editions for these mediums
using digital images and calibration techniques.

The plate is developed in plain water at a precisely controlled temperature of 70

degrees Fahrenheit +/- 0.5. A digital thermometer is used to confirm the
temperature.

The plate is briefly soaked to dissolve the ink layer and then gently brushed to
remove the unexposed photopolymer.

The last part of development takes place in running water to prevent damage or
any scratching as the photopolymer softens.

The plate is quickly blotted only with virgin newsprint paper so that any excess
polymer is not re-deposited onto the plate.

The plate is quickly air dried for a few minutes.

Then the plate is hardened at 150 degrees for 30 minutes after which it will get
a final UV hardening in the exposure unit for about 4 times the initial exposure
time.

The plates can be trimmed directly to the image size or allow non printing
margins for an embossed plate mark around the image.

Trimming takes place with a heavy duty paper trimmer.

This is an example of a large plate margin. This image by Jon Cone was one of
the first trials of the initial alpha system – yet it shows much “progress”.

The intaglio printing process requires damp paper.

The paper can not be too damp to print. It is first “calendared” in the etching
press to remove the excess water.

The paper will be calendared and stored in a plastic bag while it awaits being
used to print the gravure plate.

Any color of pigment etching ink can be mixed, transparentized, enhanced.

Cone Editions Press uses water and oil based inks by Akua, Charbonell and
Gamblin.

Jon Cone applies the ink with plastic wipes that do not scratch the plate,
prolong the life of the “wiping tarlatan”, and provide better efficiency in time and
ink waste.

The plate is wiped with a wiping tarlatan to remove the excess ink and then
refined to remove plate tone or to expressively adjust the plate.

Final wiping is done with tissue. The KM 73 photopolymer plates are

considerably easier to wipe than copper.

The wiped plateʼs edges are cleaned, excess ink removed from the back, and
the plate is carefully registered to the etching bed.

Jon uses a plastic card to help seat the plate in the exact position and to avoid
touching the edges of the plate with his fingers.

There is only one chance for the paper to be laid in the correct position. A guide
placed under the bedʼs plexiglass bed protector is used to register the plate.

The pressure required for gravure printing is significantly more than when
calendaring the sheet. Walker is cranking it down evenly on both sides.

The press bed is passed through the rollers. A felt sizing catcher, cushion
blanket, and pusher blanket separate the paper from the metal roller.

Clean fingers make for clean prints. Jon uses plastic coated playing cards to
protect the paper.

The very satisfying “pulling” of the print.

…and of course the inspection of the efforts.

The plate is removed and the press bed cleaned. The KM 73 plates are sturdy
enough to make 20,000 impressions though a typical edition size is usually less
than 50.

When Cone Editions was producing copper plate photogravures, the copper
was so soft that it needed to be steel-faced in a very toxic process so that more
than 5 impressions could be pulled. Photopolymer gravure plates can produce
up to 20,000 impressions. But, they are so inexpensive for Cone Editions Press
to produce that there is little fear from accidentally scratching the plate. The
Cone Editions process is so repeatable that if a plate is destroyed its
replacement is an exact copy.

The first project with this new process was a collaboration between Jon Cone,
Cathy Cone and Mary Manusosin February, 2018. The software and printer
driver were both at beta 1.0. Mary flew to Vermont with a suitcase of found
things and in the same way she taught Jon to approach his work – they set out
to make something they had no idea of where it would take them or what it
might be. Cathy, Jon and Mary worked late into the nights during that week
producing 8 large scale plates and numerous other types of prints in both color
and Piezography.

Cathy Cone with Mary Manusos contemplating where and with what to start the
project.

Mary Manusos hanging the first proofs from the 20″ x 24″ plates.

In March, 2018 Cone Editions invited Jill Enfield to come and make prints with
their new process. Jill demonstrated some of her favorite alternative-processes
so that they could be linearized for Piezography PiezoDN digital negative
software. Cone Editions demonstrated their new aquatint photopolymer gravure
process so that Jill could see her work in “real ink”.

‘Catʼ Cone, Jon Cone, and Jill Enfield.

The Cone direct-to-plate photogravure process then in Beta 2.0 was already
rendering a fine “aquatint”. Scanning one of Jillʼs glass plate negatives was
appropriate.