Preface
Part One
Significance of Materials and Processes
1
Processes as Experiment and Exploration
2
Life of Materials
3
State of Mind and the Environment
Part Two
New Ways of Simultaneous Intaglio and Surface Color
Printmaking
4
Introduction to Simultaneous Structuring of Intaglio and Surface
Colors in Printmaking
5
A Brief History of Color Printmaking
6
Plate Preparation: Materials and Processes
A. Etching:
Line Etching
Soft Ground Etching
Halftone Processes by Aquatint Method
Relief or Deep Etch, Open-Bite
B. Tools: Hand and Machine
Hand Tools
Machine Tools
C. Photo-Processes:
Photo Image Building
Photo-Halftones
7
Color Printmaking: Materials and Processes
A. Materials:
Printing Inks
Pigments
Oils
Resins
Ink Rollers
Paper
B. Viscosity Processes in Color Printing
Color Viscosity: Its Nature and Behavior
Demonstrations
Juxtaposition of colors
Superimposition of colors
8
Experiments in Viscosity Processes
Preparation of the Intaglio Plate and the Inks
Experiment A: Printing by Juxtaposition of Colors
Experiment B: Printing by Superimposition of Colors
Experiment C: Printing in Color in the "Pointillist Manner"
Experiment D: Printing by Separation of Intaglio and Surface
Colors
Experiment E: Printing without use of Viscosity
9
Simultaneous Color Printmaking by Combination Processes
Offset Processes
Stenciling Methods
Contact Processes
10
Other Color Printmaking Techniques
From Multiple Intaglio Plates
From "A la Poupée" Intaglio Methods
Intaglio with Lithographic Plates
Intaglio with Screen Printing
11
Problems in Color Printmaking
Maintaining Viscosity of Inks
Controlling Tackiness of Inks
Scumming of Colors
Bleeding or Running of Intaglio and Offset Inks
Glossary
Selected Bibliography
Index
Krishna Reddy is Professor of Art and Artist in Residence at New York University. A sculptor and printmaker, he has lived and worked in both the U.S. and Europe. Reddy, born in India, was educated in India and the West. He has worked in the studios of Henry Moore in England, Marino Marini in Italy, Ossip Zadkine in Paris, and Stanley William Hayter's Atelier 17 in Paris, where he first began to develop his unique printmaking technique.
"It is by far the best book on viscosity color printing by an
outstanding practitioner of this technique. It is one of the most
complete books on intaglio color printmaking in general. It is a
must for serious students of printmaking." — Gabor Peterdi, Former
Director, Graphics and Printmaking Program, Yale University
"The most outstanding feature of the book is its broad approach to
the creative process. Not only does it provide significant and
clearly explained technical information on printmaking techniques,
but Mr. Reddy also explores the fundamental relationship and
premise of what an artist is. Viscosity color printmaking is, along
with the photo transfer process, the most important technical
development in printmaking in this century. The ability for the
artist to simultaneously print all of his or her colors on one
plate was and is quite revolutionary." — Luis R. Cancel, Director,
The Bronx Museum of the Arts
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