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This press is a Ettan 36" x 72" which we've printed on since 1984! They are hard to find these days but they are fantastic presses...

Our method is dotless and continuous-tone producing more gray tone separations than can imagesetter. Because there is no film or exposure through glass it has higher levels of detail.

it's just a bit of corn starch. These plates have such a narrow bite that we can not use regular tarlatan to wipe as it would pull most the ink out of the crevices. So we use polyester wiping cloth by Akua (even though we use oil based inks) and we wipe the highlights with tissue as it does not take ink off the other areas. But no deli paper!!! It may be the tissue you are seeing.

@@ConeEditions Thank you so much for the clarification! I’ve signed up to be notified about classes/workshops for 2024 and hope to attend one of the photogravure workshops. Oh, can you tell me what the spray was you added to the leftover ink to be saved?

@@charalson3023 that is a typical anti-skin spray you should be able to source from any supply house that sells intaglio inks.

Interesting - thank you! You’ve been very kind to respond, much appreciated😊

These are the new Green Mountain Plates exclusive to InkjetMall.com. They turn yellow after exposure, have a very long tonal range as a result of their slow exposure speed. These we produce direct to plate using a proprietary 10 ink system which further increases tonality and resolution. Plates are here: shop.inkjetmall.com/Green-Mountain-Plates-SM-95.html If you would like us to produce them ready to print for you that service is here: www.cone-editions.com/gravure

What range regarding UV nm can be used? All within UVA? And are both the printing parts and the non-printing parts of the plate at the same height? In other words like an offset-print? Some kind of a litho-print? Can any type of ink via any inkjet-printer be used if the colours are defined (CMYK). Hopefully You will answer all of my questions! Thanks!@@ConeEditions

@@Jolleseileren the ideal would be 365nM, but up to 390nM although a bit more exposure time would be necessary. The plate could be used for relief where you expose what you want to remain high and roll up with ink, and what is not exposed goes into relief. But we exposed with a positive image so that there is a continuous-tone intaglio into the photopolymer... and where it goes below the surface is where it retains the ink. The surface would be where it does not or where it prints white or nearly white. BUT in our process this depth is very very shallow. How we do the inkjet direct to plate you can see here: czcams.com/video/7ZrV_y14Df4/video.html Some of the customers of our plates use their own workflows where they simply print a grayscale image onto the plate to act as the "positive". We use a special set of 10 gradated carbon inks and a calibration process to produce absolute continuous tone. If you have your own etching press - contact our studio and have us make you a plate. Making plates for other studios is part of our business. www.cone-editions.com/gravure

Hi Kees, it's a ceiling painting pad. You can get them at hardware or paint stores. Best regards, Jon

@@ConeEditions Thanks! How simpel can it be.

We print our trim marks and do our trimming after we have final hardened the plate with the second exposure (4x the calibrated exposure). The trim marks give us consistency. You just increase the canvas size with a white margin around your area to the size of the borders you want, and then add 1 pixel all around of gray or black canvas size to form the trim edges.

You can not use traditional tarlatan with polymer because it aggressively removes ink. So we use Akua spun polyester wiping cloth by Speedball.

We use oil based inks from Gamblin and Charbonnel. The blacks we like are Bone Black (which is very dark and produces open mid-tones and quarter tones...) and Carbon Black which is warmer, and occasionally Portland Black if we want to strengthen the mid-tones. Any of these blacks we can make warmer or cooler or more neutral by addition of color inks. Generally, our calibration process produces prints that match the display but often during proofing these decisions to strengthen or open come about seeing the work progress. The only modifiers we use are Hanco's Zea Mays transparent base (10-30%) and a little easy wipe.

You can see how that's done here: czcams.com/video/7ZrV_y14Df4/video.html

This process uses several monochromatic inks from the Piezography black and white ink set. This is the same ink set that produces tens of thousands more gray levels than EPSON color inks... we do provide full library of free curves for all EPSON and popular 3rd party media for black & white prints, and also curves library for making digital negatives for alternative processes...but the curves for this multi-ink Direct to Plate are only available when you come take a workshop with us. You need a supported EPSON printer to install the Piezography ink set. The workshops are here: www.cone-editions.com/workshops and we have an online pre-recorded demonstration on it here: shop.inkjetmall.com/DTP-ZOOM.html

@@ConeEditions I sold my printer with the Piezography ink set, now using Epson P8000, I'm a printmaker, (learded from Dan weldon 2000) i'm just looking for more Information on direct to plate printing...

@@boxkam there are a lot of ways to do this process with direct to plate and the more popular method uses black ink only. That is how we started, then we moved to two inks, and now we offer three inks and are separating 256 gray levels on a photogravure plate. We use the Piezography Profiler to do that. We do offer Piezography ink set for the SureColor P6000, P7000, P8000 and P9000 printers. Those are our latest generation supported printers. If you wish to stick with your OEM inks you could install QuadTone RIP and print with the black ink only and generate a single curve on your own... It is not difficult at all to generate a single ink curve with QTR. You should be able to separate 100 gray levels or close to it. You can start with just 21 steps, and then comfortable with that move to 51 steps. Then go for the 100.

@@ConeEditions I have QTR and DN pro, I've been making DN for years, Just trying to get more info on Direct to plate :)

​@@boxkam I'm Jon Cone, do you have my email? Easier to answer questions that way...

Not an easy thing to buy online because you can not first feel the edge. All of the ones we bought online for tearing are dull. So we just use them for drafting. But, large architectural or art supply houses usually have quantities of stainless steel straight edge bars displayed and you choose the sharpest one.

No, not at all. Most of the gampi and traditional washi take inkjet ink beautifully. But, you do often need to better control the amount of ink being printed on it. ICC profiling can help. But, we use a printer driver that we can more easier control how the ink is printed, the total amount of ink from all the channels, and then on top of that we profile with the Piezography Professional Edition toolkit. But, you can also get really beautiful results by on these paper with traditional printer driver that comes with the printer. You would probably need play around with the different paper settings in the printer driver to get an idea of what setting produces the best ink output on the paper. Coating it removes a lot of the more intrinsic and lovely qualities that the gampi has (like sheen...) The inks then sheen... They are definitely worth the work.....

@@ConeEditions Thanks! I just started learning Richard Boutwell's Quick Curve-QCDN to go with my epson p800. I love the rice papers and will defiitely look in to it. Is there a front and back side to this paper? I'm so sorry I missed George's Show at the Crary Gallery. We're only an hour away, but we were in Maine at the time.

@@dorothykloss5303 both sides are printable but also usually different from one another. We print on the smoother side.

Our process uses the Piezography Pro ink set and the Piezography software - and we are able to separate 256 gray levels in the plate. That's considerably more than copperplate photogravure. Adding transparent base is critical to that - and we lose nothing. We can get a very dark black even with 30% transparency - so what the transparent base does is open up a lot of the mid and dark tones. Without doing this, those tones would not be as smooth - although some people prefer chunky shadows... we prefer open shadows with lots of transitions between the shades...

@@Inkjetmall thank you, good insight

we use Revere platinum paper!

@@ConeEditions Thanks so much, I will try some. I use your inks on my 3880, and love the results.

1. We are specifically testing for 365 Iron processes (PtPd as in the title). 2. I stated that the 395 are what a lot of people are purchasing in order to do iron processes, but they are actually needing 365. So yeah, it's part of the point. We have narrow band 365 filter on the sensor similar to 365 process. As stated in the video, it does pick up some 395. 3. Re: density of LEDs: In this video and test we are attempting the "most-dense possible" amount of LEDs for each strip profile. Essentially we are doing cost of uW based on the largest amount of 365 UV we can pump out per CM per LED type. That is the test. These are all clearly defined parameters. 4. Yes, we can do a real-world comparison. Sure, that's in the plans. It will be PtPd to start with, along with other 365nM processes. And we can do real-world cost-per-uW based on those printing methods sure. 5. Why does time matter? Well the longer the exposure the less prints you can do (a lot of LED units out there are doing 20min exposures for PtPd and Cyanotype etc) while we are doing 62sec exposures on our strips (90sec for cyanotype). This is significant if you are wanting to get 15 prints out or 20 prints out in a day. The longer the exposure the more dry the paper becomes for print-out methods. The longer the exposure the more wear on the LEDs (heat over long periods of time) and the lower UV output you get the hotter the chips get. The longer the exposure the more electricity is used and the more all the other parts wear out (vacuum pump, power controllers, etc). So there is value in figuring out the shortest exposure and there is value in finding the real cost of the shortest exposure possible with different LED types. In this case we are testing it in a 365nM defined space.

@@ConeEditions I'm just making a point about the science. Using a narrow band 365nm filter is the reason your 395nm power measurement is erroneously low. The implicit assumption here seems to be that the spectral sensitivity of the emulsion is equal to what the narrow band filter transmits. I don't think that is the case. Regardless, I think we agree that it makes sense to buy better LEDs to save time.

​@@ConeEditions You are not really testing the 'most-dense possible' amount of LEDs for each strip profile, as you are using the plastic connectors for these strips. In my UV exposure rig, I soldered the ends to the UV strips, which enables them to be stacked without any gap and with a more secure connection. Maybe the argument is that soldering is an 'advanced' skill, but if a person does not have knowledge of soldering/electronics, I don't think he/she should work with either AC mains or high-power DC power.

@@anders077 that's correct we are not, because most of the exposure plates made with these are in the 30x48 inch range and some up to 44x64 inches and therefore the easiest method of replacing strips should they be injured is not by soldering in tight places and upside down. A completed exposure system looks like this: shop.inkjetmall.com/VerifiedUV-Exposure-Systems.html So, it is not the lack of skill, but the practical application of when someone inadvertently closes the cover on an ill-placed lunch box they can muster their own repair by reaching in to unclip and re-clip new strips rather than to try and solder while upside down or using a mirror. There is no voltage drop to using the clips and our current highest density (at 3mm between strips) produces greater than 7000uW/cm2 at 4-6 inches. And this is more than 7 times the amount of irradiance produced by a 3000w NuArc platemaker. At 11mm between strips the systems produce 4000 uW/cm2, and we also offer lower powered systems with even greater gaps to about 2000uW/cm2. As is the 3mm spacing will expose a platinum print in 60 seconds compared to the 18 minutes of a NuArc system.

shop.inkjetmall.com/VerifiedUV-v2-365nM-UV-Led-5-Meter-Strip.html#attr=64286,64285. Warm regards -CEP

We are located in Vermont.

No need for a screen. With direct to print the actual dots from the inkjet printer provide the "screening". It can be done at 2880dpi with the UltraHD Matte Black ink that Inkjetmall.com sells for Epson printers. Or it can be done at 1440 dpi with Epson black ink. We also have a three ink method which prints at such fine resolution, that it looks photographic without any dot textures whatsoever.

it's all we had room for in our studio!

Systems now for sale at Vermont PhotoInkjet from 11x15 with vacuum up to 30x40, shop.inkjetmall.com/VerifiedUV-Exposure-System.html

We use an old mac pro running 10.6 connected to ColorPort (the screen you see if most likely just ScreenShare open). But if you wanted to use a MacBook pro, you can run Windows 10 with Parallels and run ColorPort that way.

@@ConeEditions Thank you. I have a older Mac that can do the job 😊 Just wondered if it was possible on a new one.

So Colorport can't be run w/Monterey

Nous ne vendons que des plaques que nous produisons et qui sont prêtes à imprimer. www.cone-editions.com/gravure

Hi Michael, we did. We kept the target mounted on a thin white receiver paper in order to bring the luminance up on the 700 gray patch target. The print to screen match was really good! :)

The 365nM UV strips are a new generation we developed to be super strong. For LEDs, it is unusually strong and the unit is designed for super short exposures when we use it to expose a negative onto a platinum print. The shorter exposing time benefits the process by not driving all the moisture out of the sensitized paper and promotes higher dMax and less noise. It has an exposure calculator to measure the amount of UV the platinum print is receiving so that we can perfectly calibrate the process so that a digital negative makes a platinum print that matches the image on a display. That’s it in a nutshell!