From the days of Henry Fox Talbot, ultraviolet light (UV) is the recommended light source to expose the bichromated carbon tissue through the image positive transparency. Although the Sun was the first light provider, promptly other better stable sources were experimented. Even more, research on the first third of the XXth Century revealed that the …
Héliogravure XI – Ink and Paper
In the last post Heliogravure X - Black...?, what black?, there was discussed how the ink employed affects the black density and also how it could compromise the tonal range, among other factors. Here, we will try to look at how the same ink influences the picture over different papers. The plate chosen for this …
Héliogravure X – Black…?, what black?
Deep, dense, rich, velvet and other adjectives are often used to describe the black richness in héliogravure (photogravure on copperplate). The choice of the ink and the way this ink is laid onto the paper surface, lends to the photogravure print a uniqueness not so easy to explain beyond the direct visual experience. But this …
Heliogravure IX – An Updated Summary
As time goes by and practice evolves, a sight to back shows a lot of changes from last post of mine on this technique in 2017. Here is a succinct list of my current method for heliogravure or photogravure on copperplate. Readers of former posts will find minute changes in several phases side by side …
Photogravure on Copperplate (Héliogravure) Workshops
Workshops are focused to people wanting to have a complete overview on the keys of the method in order to later adapt to its own work and environment. Even attending a workshop, the learning curve will follow once comeback to the practiser own atelier. The whole method must be adapted to a given facilities and …
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