000			06166nam a2200349 i 4500
008			070803s2007 nyua 001 0 eng c
010			_a 2006908246
020			_a9780500513439 _q(hardback)
020			_a0500513430 _q(hardback)
020			_a9780500286616 _q(paperback)
020			_a0500286612 _q(paperback)
035			_a(OCoLC)76362144 _z(OCoLC)181139229
040			_aUKM _cSTF _dUKM _dDLC _dBAKER _dYDXCP _dBTCTA _dNDD _dPUL _dVP@ _dIXA _dBWK _dDAY _dIUL _dNOR _dTSU _dAU@ _dSINIE _dCQU _dUPP _dCHVBK _dCDX _dSULEY
049			_aBAUN_MERKEZ
050	0	4	_aNE1625 _b.A33 2007
100	1		_aAdam, Robert.
245	1	0	_aIntaglio : _bacrylic-resist etching, collagraphy, engraving, drypoint, mezzotint : the complete safety-first system for creative printmaking / _cRobert Adam, Carol Robertson.
246	3	0	_aComplete safety-first system for creative printmaking
264		1	_aNew York : _bThames and Hudson, _c2007.
300			_a240 pages : _billustrations (some color) ; _c26 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
500			_a"With 229 illustrations, 199 in color"
500			_aIncludes index.
505	0	0	_t[part 1]. How intaglio printmaking developed -- _tThe origins of intaglio -- _tThe innovators and their techniques -- _t[part 2]. The move towards safer working methods -- _tTraditional intaglio techniques and their implications for health, safety and the environment -- _tPlates and traditional plate preparation methods -- _tTraditional resists, their solvents and etching the plate -- _tTraditional collagraphic plate-making -- _tTraditional inks and their solvents -- _tSourcing information about chemicals and their correct use -- _tHow chemicals enter the body -- _tHigh-risk groups -- _tA complete safer intaglio system -- _t[part 3]. Planning and equipping a studio for intaglio printmaking -- _tPlanning the studio -- _tEquipping the studio -- _tGeneral studio facilities and equipment -- _tEquipment and workstation for direct intaglio methods -- _tEquipment and workstations for acrylic-resist etching methods -- _tEquipment and workstations for collagraphy methods -- _tEquipment and facilities for light-sensitive intaglio methods -- _tWorkstations for making positives -- _tEquipment and facilities for printing -- _tGood studio practice -- _tPersonal equipment. [part 4]. The principles of intaglio printmaking -- _tThe artist's concept -- _tMaking an intaglio plate -- _tSubtractive methods -- _tAdditive methods -- _tCombined intaglio methods -- _tPrinting from the plate -- _t[part 5]. Preparing the plate -- _tSelecting plate materials -- _tCutting and filing plates -- _tCleaning and de-oxidizing plates -- _tGraining the plate surface -- _tPolishing the plate surface -- _tDegreasing and rinsing plates -- _t[part 6]. Direct intaglio methods -- _tEngraving -- _tDrypoint -- _tMezzotint -- _tScraping and burnishing -- _tRepoussage -- _tAir-abrading techniques, including the use of light-sensitive and other masks -- _t[part 7]. Etching -- _tThe etching process and the use of resists -- _tEtching working practice checklist -- _tPlate-backing resists -- _tTypes of plate-backing resist and their application methods -- _tHard resists -- _tMaking a guide drawing -- _tDrawing into the resist -- _tWorking into the resist to create broad open areas -- _tTypes of hard resist and their application methods -- _tSoft resists -- _tCreating collage-type impressions -- _tThe classical offsetting drawing method -- _tDrawing directly into the soft resist -- _tTypes of soft resist and their application methods -- _tStop-out resist and controlling tone -- _tPainting methods -- _tDrawing into the stop-out resist -- _tCorrecting or editing an image -- _tStopping out and the stage-biting process -- _tTypes of stop-out resist. Creating tonal structures and the aquatint method -- _tUsing the puncturing method -- _tCreating a scrobiculated surface using soft resist -- _tCreating an etched ink-holding grid using soft resist -- _tCreating an aquatint -- _tTypes of acrylic resist for aquatint -- _tWash resists -- _tPainting methods -- _tTypes of wash resist -- _tPhotoresists -- _tLamination method -- _tExposing the photoresist -- _tDeveloping the photoresist -- _tDeveloping the photoresist -- _tCuring, drying, etching or working the plate further -- _tOther types of resist -- _tOily resists -- _tWaterproof maker pens -- _tPhotocopy transfers -- _tAdhesive tapes -- _tEtching the plate -- _tMordants -- _tMordants which are not recommended -- _tMordants which are recommended -- _t[part 8]. Collagraphy -- _tCollagraphy -- _tCreating fine linear work -- _tCreating coutour lines -- _tCreating textures, tones and patterns -- _tCreating, lines, washes and tonal areas with carborundum -- _tCreating mezzotint effects and pale tones -- _tUsing screenprinting techniques -- _tPhotocollagraphy -- _tUsing dry film photoresist to create photocollagraph plates -- _tUsing flexographic water-washable photopolymer plates as photocollagraphs. [part 9]. Positives -- _tUsing positives in light-sensitive intaglio printmaking -- _tSubstrates and materials used for positives -- _tAutographic positives -- _tPhotographic positives -- _tDigital positives -- _tPhotocopy positives -- _tHalftone contact screens -- _tColour separation and process printing -- _t[part 10]. Inking-up and printing methods -- _tApproaches to printing -- _tThe intaglio inking-up and printing method -- _tÀ la poupée -- _tEmbossing -- _tChine collé -- _tRoll-over and viscosity printing methods -- _tMonotypes -- _tCombining intaglio with other media -- _tRegistration methods -- _tInks and additives -- _tMaking inks for intaglio methods. [part 11]. Removing resists, collagraph materials and inks from the plate -- _tSodium carbonate stripping solution -- _tLascaux remover and Mystrol vegetable oil -- _tPrinting substrates -- _tPaper -- _tPreparing the paper for printing -- _t[part 12]. Collating and presenting intaglio prints -- _tCollating intaglio prints -- _tPresenting intaglio prints -- _tStoring plates -- _tInternational suppliers of materials -- _tGlossary.
650		0	_aIntaglio printing.
650		0	_aPrints _xTechnique.
700	1		_aRobertson, Carol.
900			_a33169
942			_2lcc _cKT
999			_c30164 _d30164