Centre for Fine Print Research University of the West of England Centre for Fine Print Research
  CPD wideformat course

Photogravure: An Early Photographic Printing Process With A Modern Twist

led by: Peter Moseley
dates: 17-21 JULY 2017
times: 9.30AM - 4.30PM
price: £750 Full Price or £650 Concessionary Price
includes: ALL materials, LUNCHES, TEAS AND COFFEES

Book online now: The online store

Photographic printing processes from the mid and late nineteenth century offer a wide variety of printed surface, colour and texture that differ markedly from the clean, sometimes almost sterile appearance of modern digital images. The early photographic processes (aka alternative photography) require a real hands-on approach in the choice of paper, chemistry and coating, and provide every opportunity for the printmaker to produce individual and beautifully aesthetic work.

The photogravure process was developed in the 1870s and became famous for the beauty and quality of its gravure prints. This is real, put on a proper apron and roll up your sleeves, printing. In outline, the process involves etching a photographic image into a plate which is then inked and put through the high-pressure rollers of an intaglio etching press sandwiched with handmade or art paper. Prints can be produced using special inks of any colour.

Originally the process involved etching the image into a copper plate, but there is a modern equivalent that is somewhat more manageable. A photosensitive polymer plate is exposed to ultra-violet light under a translucent acetate copy of the original image or photograph and then washed out in water. Where the plate has been protected from the light by dark parts of the acetate it remains soluble in water and these areas will be removed; where the plate is exposed to light it becomes hardened and these parts will not wash away. After it has been dried, the plate is covered in ink and then the surface ink removed by careful wiping. Ink remains in the lines, grooves and hollows, where the unhardened polymer has been washed away, and it is the ink in these depressions that forms the image when the plate is put through the press in contact with dampened art paper. It’s quite a performance but well worth the trouble, prints made by this method can be stunning.

This five day course will introduce course delegates to all the key aspects of the process including:

· Calibrating polymer plate exposure
· Producing the digital transparency
· Exposing, washing out and hardening the polymer plate
· Preparing the paper, inking the polymer plate and pulling the print
· Drying and protecting the print

Delegates will be able to make gravure prints from at least three of their own photographic images, from film negatives, photographic prints or digital files. This course is suitable for beginners and no prior experience of intaglio printing or Photoshop (a computer program for editing digital images) is required. All materials will be provided.

Feedback from the 2016 course:

The tutors methods of training were excellent and I got so much more out of coming on the course than I expected.
Everything has been supergreat - beyond expectations and we were all looked after super well.
Really nice group dynamic that the tutor drew upon to keep a very balanced teaching and learning environment.
The best aspect of the course was the tutor’s excellent expertise and wonderful approach to his practice.
I have enjoyed all aspects of the course – a good mixture of theory and practical instruction.
This course exceeded my expectations.
I cannot recommend the tutor and course enough. Peter’s expertise, patience and dry wit made this an exceptional experience.
Every aspect of this course was excellent including the tutor and his work - I have no criticisms.
It has been particularly useful to learn the digital aspects as well as the printing.
I was given plenty of attention and support.
This course was excellent value for money in every way.
Well-paced teaching, we were challenged to go just outside our comfort zone which was just right. Well thought out lessons.
The best aspects: non-stop challenge, very supportive tutor and good, well-motivated fellow students.
Very straightforward teaching and very helpful.
The practical elements mixed with the information were well-balanced.
All good!!

Find out more about the course tutor Peter Moseley.

This course will be held at UWE Bristol’s Bower Ashton Studios with a maximum of 10 participants

Book your place on any course:

The online store


or if you prefer you can send us a cheque made payable to UWE Bristol and post to:

Centre for Fine Print Research
University of the West of England
Room 0B9
Bower Ashton Studios
Kennel Lodge Road
Bristol BS3 2JT


If you would like us to invoice your employer or funder, please email their name, address, email address and phone number to cfprinfo@uwe.ac.uk

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