Heliogravure (photogravure on copper plate). Original Talbot-Klic technique (1879)

El vídeo explica el procés de realització d'un fotogravat, la tecnologia que més s'ha utilitzat per a la impressió de la fotografia. La recreació feta es base en la tècnica original de Talbot-Klic (1879) amb algunes variants de procediment.

[@anglikhal]

Fabulous présentation 😍😍😍👏👏👏👍

[@craigfeldpausch1429]

Wow! That has to be the most involved process ever! Kind of makes silk screening look fast.

[@prometheanevent]

Wow, an amazing presentation for an esoteric topic.

[@daria-anaoprean1445]

AMAZING VIDEO

[@emetvids]

thank you for this informative video!

[@kevin-parratt-artist]

This next development of the technique was to apply the aquatint to the plate, fusing it on, then 'brightening' the copper in mild acid, and placing it in an 25% alcohol/water solution, ready to receive the gelatin. (This has been the method I have employed.) Then it's pretty much as illustrated in this animation. 👌

[@erwinpokorny9353]

Well done! However, there is a little mistake in the order. The aquatint grain is to be melted before the exposed carbon fabric adheres to the copper plate. This is how it is described in the literature on printing techniques. I suspect the reason is that melting over the flame could damage the gelatin layer.

[@kevin-parratt-artist]

What you describe is a later modification. Originally it was done as illustrated in this animation, which was Fox Talbot's method. Most writings on Heliogravure, then "copperplate photogravure" are written by individuals with a narrow frame of reference, often just what their teachers have told them, or what they have gleaned from one book. I have a library on the subject in English, Norwegian and German. Then in practice, I have mostly worked with the method you describe 👌 . as well as using a 'White line screen.' as employed in rotogravure. .. as well as a random dot screen. These could be purchased in 150 and 175 d.p.i. equivalents. (and can also be made in the darkroom, limited in size by the graphic arts film stock available)

[@erwinpokorny9353]

@@kevin-parratt-artist Thank you! You are right! If the aquatint were placed on the plate before the gelatin, the print would have no white areas. There is another very informative video in French: kzbin.info/www/bejne/jWXNm2CoeqaJpcU

[@carlesmitja444]

This is the Talbot-Klic method, not the former Talbot attempts in his pattents of 1852 and 1858. Talbot applied the sensitized gelatin onto the copperplate and this encompassed a lot of problems at the etching step because of the non hardened gelatin remaining underneath that the hardened one by the UV of the Sun light. Klic improved the Talbot’s procedure appliying the gelatin on a temporary paper support, the so called Carbon Tissue. He takes the idea from the new appeared technique of Carbon Transfer Process. The order to appliying the gelatin and the grain aquatint is described in reverse way depending on text (and date). Nevertheless, the most common practice was often as is described in the video. In this manner, the melted rosin protects the gelatin resist from long etching in ferric chloride.

[@murraykriner9425]

Of all the printmaking methods I've encountered, I'm drawn to this particular type more than most. Am grossly aware of its difficulty to make just the copperplate for a print, but am willing to inquire if the materials are still available to get involved in this type of work?