Creating the Photo-Printmaking Studio
Many of the printmaking processes described in Part III, Light-Sensitive Methods, are accomplished without a photographic darkroom or film-developing area, although an artist may want access to a darkroom (see Chapter 5) or a computer and printer (see Chapter 6) for making large negatives. Cyanotype, Van Dyke brown, gum bichromate, casein pigment, palladium, and Kwik Print1
emulsions are applied to paper or fabric in subdued daylight, dried, exposed to bright ultraviolet light under black-and-white contact-size transparencies, and developed. A light box for viewing negatives, a contact printing frame for holding negatives in place against the photo-printmaking emulsion, and an exposure unit of ultraviolet light, all become indispensable once you start using them. This chapter shows how to build these items easily and relatively inexpensively. Please note that technical information on choosing and sizing paper, registering negatives, and utilizing graphic arts aids is in the Materials and Procedures section beginning on page 75 of this chapter.