Héliogravure VI – Visibilité de la Trame

(Correction de la traduction en Langue Française courtoisie de Jean Claude Pronier) Dans un post antérieur, on a présenté des méthodes pour préparer une trame adaptée aux besoins de l’héliogravure par les moyens numériques. Malgré les résultats satisfaisants obtenus avec les trames numériques, il y a des praticiens qui soutiennent que l’utilisation du grain de …

Heliogravure VI – Screen Visibility

In a previous post, there has been discussed about the methods to prepare a digital screen intended for heliogravure. Although digital screens have been used with satisfying enough results, there is also a common discussion that consider the dust grain and analogue screens as better suited than the digitally prepared. The most often argument is …

Reproduction of Photogravure Prints

Introduction. As in other fine art disciplines, one useful aid to the own progress in photogravure is the critical contemplation of the artwork of other artists, successful or not, famous or not. Although the better valuable way to do that is a direct and alive viewing, in those days of Internet connection, we have also …

Heliogravure V – About Etching

In photogravure on copperplate, etching  is commonly done by immersing the plate in several solutions of ferric chloride of different concentration. As the pigmented gelatin is thicker where the image tone is higher, the trick is to allow the ferric chloride to penetrate before the thin gelatin in the shadows areas  and progressively do the …