Peter Charles Fredrick (pete@fotem.demon.co.uk)
Wed, 07 Jul 1999 09:37:27 +0000
Four colur printmaking "CMYK"
: "Jeffrey D. Mathias" Wrote : Mon, 14 Jun 1999
Is there any reason that such knowledge should be hoarded, kept secret, or
divulged only for a price? I think not. No one can produce work like mine
or like yours, nowthat's something that can sell. As to the how-tos,
techniques, methods,
whys, let us be encouraged to move into this new age (and philosophy) of
the internet to freely exchange good information.
I totally agree with the sentiments expressed by"Jeffrey" So here is how I
do it with Temperaprint.
Firstly I print the black printer as a light grey.I use this image as a key
line image to measure the effect of the colours.Simultaneous contrast makes
proper evaluation of the yellow difficult, ! a light grey under image
helps.
Next I print the yellow this colour can be printed at the end or the
beginning dependent on the yellow used, if a opaque yellow is used then it
must be put down at this stage such a colour could be cadmium lemon
yellow.However if you use a Hansa yellow it can be put down last as it is
transparent There are fores and against's using both systems. You can of
course us a mixture of the two.
Next I print the magenta quinacridone, this is a tetchy colour which tends
to coat rather thin so you will probably need two coats to reach a full
saturation. If you try to build the pigment colour by increasing the
pigment in the mix you will more than likely run into coating problems
Next I print the cyan, normally this will be Phalocyanine blue green shade,
this is a very powerful colour with high tinting strength, so the amount of
pigment in the mix will be small this makes for very easy printing and it
is at this stage that the print comes alive and all the colours begin to
make themselves felt.
The next stage is one of balancing the three colours against each other if
extra Yellow is required then a transparent Hansa yellow will need to be
used, as previously explained. This is a very sensitive stage in the
production of the print and will depend on demands of colour fidelity and
aesthetic appeal. I am afraid the answer lies only in the eye of the
beholder nowhere else.
Finally the black is brought up to required strength sometimes I omit this
stage completely at other times I reinforce the black to add calligraphic
effect, it entirely depends on the pictorial requirements, of the image.
This is the methodology I normally use for standard CYMK work but as an
increasing amount of my personal work is associated to with Polychrome
presentation, I may change the order for special effect.
Generally the exposure times are the same, however I do use digitally
separated negs so this would make sense in these circumstances. However I
sometimes give long exposure to get the colour right up into the highlights
and conversely give short exposure's to just get the deep shadows to
stick, this is normally with black or another colour to give a slight bias
in the shadow area's.
I hope this helps, my hard drive crashed recently so I have lost a lot of
my recent email's If anybody is waiting for a reply could you please
re/e:mail me again thanks
Pete
http://www.fotem.demon.co.uk/ To visit petes parlour gallery, there is now a
Guestbook !
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