book

Carbon Transfer Printing

Name: Carbon Transfer Printing
ISBN: 9780429757273

by Sandy King, Don Nelson, John Lockhart

September 2019

Intermediate to advanced

278 pages

8h 28m

English

Focal Press

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Cover
Half Title
Title
Copyright
Contents
Preface
About the Authors
PART ONE History of the Carbon Process and Carbon Transfer Printing Step-by-Step
Chapter 1 History of the Carbon Transfer Process
Monochrome Carbon TransferThree-color CarbonTimeline of the History of Carbon Printing
Chapter 2 Overview, and Making your First Carbon Transfer Print
Step 1—Make the Carbon TissueStep 2—Sensitize and Dry the Carbon TissueStep 3—Expose the Tissue to a Negative with Ultraviolet LightStep 4—Mate the Tissue with a Temporary or Final SubstrateStep 5—Develop the PrintStep 6—Clear and Finish the Print

Chapter 3 Supplies and Materials
IntroductionNegative PreparationCarbon Tissue PreparationFinal Supports for the PrintSensitizing the TissueExposing the TissueMating the Tissue to SubstrateDevelopmentPrint Finishing
Chapter 4 The Working Environment
LightingHumidity and TemperatureThe Wet AreaThe Drying AreaDrying Unsensitized Printing MaterialsDrying Sensitized TissueThe Printing Area
Chapter 5 Negatives for Carbon Printing
IntroductionSection One—Notes on Basic DensitometryThe Characteristic CurveUsing Transmission Step ScalesProcedures for Testing with a Step WedgeDetermine Base Minimum Printing Time with a Step WedgeCalculating Exposure Scale (ES)Section Two—Crafting the Analog Film Negative for Carbon PrintingIn-camera Film NegativesSection Three—Digital NegativesGetting Started with QTRPrinting with QTR ProfilesInstall QTRInstall your PrinterCreate a Custom QuadTone RIP Profile for Carbon PrintingStep 1—Determine a Standard Print TimeStep 2—Print an Ink Separation Image to Determine Inks and ProportionsStep 3—Create a Custom QTR ProfileStep 4—Install the Profile and Print the 21-step Digital NegativeStep 5—Adjust Ink Density to Get Dmax and Paper WhiteStep 6—Linearize the ProfileLinearizing with the CURVE_KLinearizing with the LINEARIZE=
Chapter 6 Making Supports for Single and Double Transfer Carbon Printing
IntroductionPreparing Fixed-out Photographic PaperSizing Watercolor PaperSizing Watercolor Paper with Polyvinyl Acetate or Acrylic MediumSizing Watercolor Paper with Hardened GelatinSizing the PaperLight Hardening of Watercolor Papers Sized with Gelatin or Albumen Plus HardenerThe Albumen SolutionPrepare the Gelatin Sizing Mixture and Coat the PaperSurface Prepping of Temporary Plastic Supports for Double TransferSizing Temporary Plastic Supports for Double TransferPreparation of Final Paper Supports for Double TransferStepsSizing for Glass as a Carbon Transfer SupportClassic Glass SizingModern Adhesion Promoter as a Sizing AgentOther Methods
Chapter 7 Making Carbon Tissue
IntroductionHow to Make Carbon TissueMaking Pigmented GelatinSelecting a GelatinPreparing the Pigmented GelatinCoating TissueTip: Annotate the Back of Your TissuesThe Laydown Method for CoatingPreparation for CoatingBasic Hand CoatingHand Coating the TissueTip: Calculating Volumes for Coating HeightUsing a Magnetic Frame and RodCoating the Tissue with a RodUsing a Mayer RodCoating with a Mayer RodSelecting and Using PigmentsInksWatercolor PigmentsPigment DispersionsDry PigmentsUsing an Improvised Ball Mill Storing Tissue
Chapter 8 Basic Working Procedures for Single Carbon
OverviewPreparing a Printing SessionSensitizing the TissueMixing the Sensitizer with a SpiritDetails of the ProceduresApplying the SensitizerHybrid Dab-brush SensitizingDry the Sensitized TissueExpose the Sensitized TissueMate the Exposed Tissue to the Final SupportMating the Tissue and SupportDevelopmentSaving a Print with a Frilled Edge
Chapter 9 Multilayer Transfer Carbon
IntroductionCorrect OrientationAesthetic QualitiesDuotones and Full Color CMY and CMYKThe Temporary SupportPerforming the First Transfer and DevelopmentTransfer to Soluble Support PaperTriple TransferPin Registration
Chapter 10 Color Carbon
Contemporary Color Carbon PrintingMaking a Color Carbon Print: Overview of Contemporary PracticeBasic CMY Color Calibration MethodologyIdentify Suitable PigmentsDesign the Pigment TissuesLinearize the CMY LayersAdjust the CMY Layers for Gray BalanceMake a Carbon PrintCreate an .icc Profile for More Accurate Color ReproductionHybrid Color: Combining Color Capture on Film with Digital Methodology
Chapter 11 Alternative Materials and Working Methods with the Carbon Process
IntroductionSection One—Historical ReviewPigment Prints with Direct Carbon ProcessesPigment Prints with the Carbro ProcessPigment Prints by Exposure through SubstrateSection Two—Alternative Light Sensitive Agents with Carbon Printing, with some Practical Workflow ProceduresSilver BromideDiazonium CompoundsPractical Use of Diazonium Compounds in Carbon PrintingMaking the Diazonium Pre-sensitized TissueDiazonium Pre-sensitized Tissue #1—Diazon 22lzDiazonium Pre-sensitized Tissue #2—DASUltraStable Color Clearing BathFerric SaltsFerric Carbon with Exposure through the Substrate on a Permanent BaseExposureDevelopmentWash off DevelopmentClearingDouble Transfer Ferric CarbonSteps in Making a Double Transfer Ferric Carbon Print
Chapter 12 Finishing the Print
ClearingDrying and FlatteningSpottingApplying Finishes to PrintsApplying Picture VarnishOvercoating with Gelatin
PART TWO Contemporary Carbon Transfer Artists
Chapter 13 Artists and Their Creative Practice
IntroductionTod GanglerSam WangMichal MackůJavier De ReparazVaughn HutchinsFred DuselErin KiceCheng HuaZhong JianmingPhilip SchwartzKane StewartBruce CampbellJim FitzgeraldAndrew MusilMarek MatuszSidney KapuskarDavid ChristensenMajo Guerrero FonsecaAndrew O'NeillGary BakerDave HattonCathy CakebreadMark L. FreedmanJonathan TaalaEllie Young
Appendix A Suppliers and Resources
Appendix B Safe Practice
Appendix C Sites with Significant Collections of Vintage Carbon Prints
Bibliography
Index

Content preview from Carbon Transfer Printing

Preface

Quanzhou Bay, 5˝× 7˝ color carbon, © Sandy King 2019

My interest in early historical photographic processes began in a somewhat random and serendipitous manner when my personal interest in darkroom printing converged with my formal training in history and literary criticism, leading to synergy between the intellectual activities of my personal and professional lives. The work in the darkroom led to an interest in the history of photography, and in particular to the printing strategies and the intellectual discussions that have attempted to relate photography to the broader history of the arts, especially literature and painting. That interest ...

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Carbon Transfer Printing

by Sandy King, Don Nelson, John Lockhart

Preface

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,
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