I've adopted a technique used by Deli Sacilotto who printed amazing
gravures for Mapplethorpe at GraphicStudio (One of which is a four-color
separation and has to be seen to be believed). Deli uses a screen rather
than an aquatint layer. Rather than a rigid gravure screen or a large
mezzotint screen that one buys, he made his own with a sheet of fine,
pebbled, mylar. A contact was made onto lith film (negative) then
recontacted onto another sheet (Positive). This is exposed over the
initial continuous tone exposure to establish the high points (lands) of
the plate. (110% to 130% exposure) I'm using one which gives about a 300
line screen, Deli has one at 600 lines. In either case, the irregular
nature of the screen makes it invisible.
Since I've been using this method (rather than asphaltum) the shadow
areas no longer foulbite, there are fewer flaws, and the gelatine resist
seems more durable (less likely to fail).The plates are also easier to
wipe as the lands seem to have tiny flat tops rather than spikey points.
I'm intrigued by the use of copy toner as a resist. How do you adhere it
to the plate? Heat? Fumes? Have you thought of trying it *OVER* the dried
gelatine resist? That technique works very well with rosin, believe it or
not.
David Morrish
Department of Visual Arts
Sir Wilfred Grenfell College
Memorial University of Newfoundland
Corner Brook, Nfld. Canada