Sketchbook Tour comes to Seattle, WA

June 10 - 12
at Form/Space Atlier

This link brings you to a nice page to view the Grand Canyon Trip sketchbook
or
search for the book using the ISBN: 978-0615444055

Photography changes during printing process

Photography has always been full of multiple variables, most of which effect each of the others drastically. Slight changes in printer settings will make the most precise digital output change. Minor chemical variations in traditional (now called "alternative") photography can make a big difference. Same holds true for one of the oldest forms of photography: photogravure.

Look carefully at the two images below.
Same plate.
Same ink.


The process for the top print involved soaking the paper for only 10 minutes, and using a standard three-blanket setup on the etching press. The image has high contrast, some detail loss, and poor transition from light to dark (gradient).

The process for the bottom print was one in which the paper soaked for about an hour, and an extra sheet of printmaking paper was added on top the the paper/plate sandwich to act as a fourth blanket. The gradients are smoother. There are a couple more steps of mid-tone gray. Some very subtle details start to emerge.



I must give credit to Jon Lybrook for reminding me about this subtle, but important, printmaking trick. It was discussed in grad school, but my work at the time was suited for a standard three-blanket set up, so I forgot about the addition of a fourth "blanket" of printmaking paper until Jon mentioned it to me this January (he saw some of my gravure and said, "you know what will even out your tones...")

Note:
in the technical information page (click on Jon's name to get there), he mentions using two pieces of newsprint. When I spoke with him, he suggested using a piece of printmaking paper. I've tried both, and the printmaking paper seems to work better.
I find that I can use the same piece of printmaking paper as the fourth blanket 6 - 10 times before it's too soaked to be effective. I keep a regular rotation of these sheets by letting the wet ones dry, and occasionally stacking them all together and putting weight on top to straighten them out for reuse.

Rochester Contemporary Art Center

http://www.rochestercontemporary.org/


"Route Rouge" 6"x6"
(photo on top taken outside, photo below taken inside to show topography)



-----------------------------------------------------------------------------------------------



"Vida Verde" 6"x6"
(photo on top taken outside, photo below taken inside)



6x6x2011

gallery update on Alternative Photography site

http://www.alternativephotography.com/gallery/v/scott-barnes/

showing the first five photogravures from the Grand Canyon series

How To make a plate with photopolymer for safe(er) aquatint printing

(the original drawing was made by Marie Roberts bitterwonder.com)

I'm looking for feedback on this photo sequence.
So you need another photo to make the process clear?
What questions do you have about any photo?
Leave a comment and I'll get back to you (and this will help me fine tune how to teach this process)

which color blocks UV light better?

the trick is to get past "common" sense and realize that I am not talking about visible light; I'm talking about Ultraviolet light.
HP has made a big deal about print profiling for one of their new large format printers that is an optimized workflow for creating digital negatives for alternative photographic processes.

http://www.dpug.org/forums/f8/new-video-regarding-hp-design-jet-digital-negatives-2039/index2.html



Yet the priniciple, and much of the process has been around for a while, buried in alt photography forums and websites; a couple of which are laid out well enough to be immediately useful.

http://www.inkjetnegative.com/images/RNP/rnp.htm


I've already agonized over adjustment curves (for compensation and preview), and believe that experimenting with color is the next logical step towards creating a more manageable and predictable workflow for myself.




http://artandwater.blogspot.com/2010/12/on-top-of-white-whale.html


http://artandwater.blogspot.com/2010/11/campfire-old-and-new.html


http://artandwater.blogspot.com/2010/10/keep-on-paddling.html

why framing and conservation is expensive (and important)

in short, it's both the materials required and time

http://www.vimeo.com/11712163

There is a difference between materials tested by time and materials tested by accelerated time tests.
100% cotton is best for both backings and also as substances on which the art is printed.
"Buffered" boards are only effective for a couple of years. The buffering wears out quickly.
Plexiglass is more stable than aluminum, and less likely to break than glass.

Kolb Photo Studio

south rim of the Grand Canyon

Little Colorado River from the Navajo Reservation

Kentler International Drawing Space

"100 Works On Paper"
April 15 - May 13

Artist's Reception and Meet & Greet
Friday, April 15, 6-8pm



http://www.kentlergallery.org/

Sketchbook Tour comes to Washington D.C.

April 15 - 16
at Hillyer Art Space

This link brings you to a nice page to view the Grand Canyon Trip sketchbook
or
search for the book using the ISBN: 978-0615444055