Thanks, but I'm pretty sure they don't do gravures.Are you looking for halftone plates or "line cuts" there's a place here
https://pellaengraving.com/
These folks made a friend a zinc line cut a couple years ago. For a letterpress.
Thanks, but it looks like he’s doing copper plate, while I’m interested in direct to plate polymer photogravure.I'm going to copy @Ken Wilkens; he registered earlier this year and might be able to help. Here's his introduction thread: https://www.photrio.com/forum/threads/photogravure-in-atlanta.199435
He hasn't logged on for a few months, but I'd suggest dropping him a pm.
I've dabbled in photopolymer for a while; it's a beautiful process. Have fun with it; it's a bit easier today with better availability of materials and in particular UV LED light sources. You need a collimated light source for this; forget about banks of UV tubes or LED strips! Try a single COB LED at a reasonable distance (a few feet or so) from the printing frame. For intaglio, you want fairly deep and sharply defined pits with precisely walls perpendicular to the plate plane. Only collimated light can provide this.
Thanks,Check out Mountain Intaglio, run by Lynn and Clay Harmon.
Mountain Intaglio
Seller of easy-to-use steel-backed photopolymer plates for intaglio and relief printingmountain-intaglio.com
Clay (literally) wrote the book on photogravure work.
Thanks,
I’ve got the book already, but it looks like they are in the business of selling materials, not making plates for others.
Good point, it's worth a try. Judging by the results I've seen his workshop students get, he really knows his stuff. I'd trust him to make a reference plate for sure.It’s worth asking Clay. He might be willing to offer that service. He just started selling papers and he is looking for ways to grow their business.
Good point, it's worth a try. Judging by the results I've seen his workshop students get, he really knows his stuff. I'd trust him to make a reference plate for sure.
Several decades ago, when I was first rummaging around that interwebby thing, I stumbled across his website and let him know how much I liked the quality of his prints, as seen on his website. Believe they were LF B&W images of wind drifted snow taken by street lights at night.I took one of Clay's workshops -- best money I ever spent. Clay has a deep knowledge of this stuff, and his photogravures are exquisite.
Several decades ago, when I was first rummaging around that interwebby thing, I stumbled across his website and let him know how much I liked the quality of his prints, as seen on his website. Believe they were LF B&W images of wind drifted snow taken by street lights at night.
Lynn says he’s busy for the next week or so. Might be 10 days before I get an answer.
Doubt he’ll get into a full blown plate service business, but maybe, just maybe he’ll have time for one-off reference plates?
Lucky indeed. I'm a ways away from any galleries of note.I am lucky enough to live a short drive from Clay’s commercial space in Asheville. His gravures are just stunning on the wall. And Clay is a thoughtful and talented teacher. If you can work something out, it would be worth the wait.
Thanks for the tip. Had not heard of COB LED's before....Try a single COB LED at a reasonable distance (a few feet or so) from the printing frame. For intaglio, you want fairly deep and sharply defined pits with precisely walls perpendicular to the plate plane. Only collimated light can provide this.
Clay got back to me...his assessment is that there are too many variables at play, so better off grinding my way up the learning curve all on my own.
Time to suck it up, Buttercup!
The photopolymer stuff works just fine with the most common 400nm wavelength UV LEDs.
I see a 6x12-inch 365nm light on AliExpress
Clay Harmon and Jon Cone disagree but I wonder if the divergence is due to different polymers -- they both use Jet plates that are designed for 350nm exposure. Clay says my 390-400nm lights that I use for kallitypes will not work with Jet plates. For now, I want to stick with Clay's process because I have seen his work in person and know that it is what I hope to achieve with photogravures.
Re single-point light sources: Clay and Jon both use 365nm light strips in exposure boxes. I chatted briefly with Clay about this. Clay agrees that a collimated source is best. But he observes that UV LEDs are fairly directional in their output, and he says that they work well enough for the application.
I am hunting for a solution that uses off-the-rack 365nm components. I see a 6x12-inch 365nm light on AliExpress that appears suitable for ganging up to cover a 12x18-inch print area. Any thoughts? Link below:
If others have come up with a suitable UV LED array, post here.
I wanted to see if I could get any kind of response with my Kallitype setup- which is almost identical to yours. I ran a few tests and the closest I could get was a "clear" 14-15 on the Stouffer wedge at 3 hours/45 minutes of exposure. For comparison my standard Kallitype exposure is 28 seconds. So the bottom line is the longer wavelength units will not work with the 43SM jet plates in any reasonable exposure time, based on my attempts.
Hi there,
Know anyone providing polymer photogravure plate services beside Cone Editions and Intaglio Editions in the US?
I'm about to start down that path, and would like to have one well made plate for reference purposes.
Bonus points if you know a place in Canada which provides this service!
Thanks.
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