Our photopolymer gravure workshop combines the best of two worlds: printmaking and photography.
The photogravure process was developed initially in the 1870s and became famous for the beauty and quality of its prints. It is real, put on an apron and roll up your sleeves, printing.
Intermediate Photopolymer gravure
3 day workshop with Dr Peter Moseley
April 27-29, 2018 (FULLY BOOKED)
£400 + £40 materials fee
Dr Peter Moseley is an experienced photographer and printmaker using the techniques and processes of the nineteenth century, including photogravure, platinum, salt and albumen, carbon transfer, kallitype and cyanotype printing. He specialises in combining digital and analogue technologies and has exhibition entries shown at national and regional galleries, including the National Portrait Gallery, the Royal Society of Printmakers Painters, the Royal Birmingham Society of Artists and the Royal West of England Academy. He is an experienced and qualified teacher and has taught photography/printmaking workshops at universities, colleges and print centres in the UK and in Russia and China. He has workshop and printmaking facilities in Chichester and regularly teaches in London at Lux Darkroom.
Peter has an MA in Printmaking from the University of Brighton and currently is Visiting Research Fellow at the Centre for Fine Print Research at the University of the West of England, where he was awarded his PhD. His research interests including: the history, techniques and practice of nineteenth photographic and photo-mechanical printing processes; the application of digital and inkjet technologies to early contact printing processes; and the development of the craft and techniques of photogravure and carbon transfer printing and the use of gelatine/colloidal matrices.
'Windswept', Photopolymer gravure ©Peter Moseley
This Intermediate Workshop will take members through all the key aspects of the process including:
•Preparing the digital transparency (negative) using desktop inkjet printer
•Establishing the correct timing for the initial aquatint (stochastic screen) plate exposure and for the subsequent exposure under the image transparency
•Calculating and calibrating the necessary adjustment of the digital image, using Photoshop curves, to ensure that the etched plate produces even tone graduation from white to black that fully matches the complete tonal differentiation of the origination image
•Preparing the paper and inking the plate
•Producing the print on the etching press
•Drying and protecting the print
•The use of two plates to provide duotone prints with colour differentiated highlights or shadows
•The use of chine-collé techniques
Participants will work through the complete platemaking process, including all aspects of exposure and calibration and the use of two or more plates and chine-collé to produce multi-coloured prints.
Some prior experience of intaglio printing or Photoshop will be helpful.
Materials will be provided, all that is needed is your images.