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Photo Polymer gravure is also an intaglio process implying the fact that incisions, depressions and recessed areas are the ink holding portions of the plate. The photopolymer plate has a UV sensitive emulsion. With these plates, water is used to etch into the surface after the emulsion has been exposed through a film positive. The polymer becomes hardened by exposure to ultraviolet light. When the plate is developed in tap water, the highlights which have less density on the positive transparency receive more light during the exposure and become harder relative to the less exposed areas. Hence, the highlight portions of the image are less affected than the shadow areas during the etching process. The deeper etched shadow portions of the plate hold more ink, thus  printing darker values than shallower etched highlight areas. Unlike many of its predecessors, the polymer gravure process is a “safer” process in regards to health issues.

 After finishing with the Photoshop aspects of image tailoring, and the positive transparency is processed, one has the possibility to work on the positive with ink washes, litho crayon, or other textural materials, to add creative affects if so desired. The incorporation of hand-drawn, or scanned imagery, into the polymer gravure process gives the artist continued possibilities to affect the final feel and content of his work. The possibility of adding a second plate to produce a duotone, incorporate collage, monotype, or re-working the final printed surface with charcoal and pastel, gives the artist the ability to more readily impart his personal touch to the final work of art. When the print is finalized, it needs to be air dried, flattened, then numbered as to the edition, and signed by its maker.

David Hoptman lives in Italy and teaches at the University of Lorenzo de Medici in Florence. He teaches Photopolymer workshops, photographic workshops, as well as workshops pertaining to the creative process from his house and studio in the southern part of Tuscany. You can learn more by
visiting his website at http://www.davidhoptman.com or contact him at mailto:dhstudio@mac.com. 
 

Dallas Morning News Feb. 2002
by Mike Daniel
WHAT: "Dan Mitchell Allison: Searching," prints and prose by Mr. Allison,
at William Campbell Contemporary Art in Fort Worth.
 

BACKGROUND: Since the mid-1970s, this Houston artist has been a full time print- maker, having shown work on four continents- and in in countless exhibits. The Modem . Art Museum of Fort Worth included one of his pieces in i~ initial 1989 much of Texas made fine art prints (along with works by James Surls, David Bates, Luis Jimenez and others). The "virtuoso printmaker," as gallery owner Mr.. Campbell calls him, some- times invents processes to satisfy creative visions. The first results of one such inovation, a process Mr. Allison dubbed "polymer photogravure," are now on display here.

1b make the work, the artist places objects on a computer scanner -think of a photocopy of a hand or face -and manipulates- ulates the resulting digital image. He then has a lab make a large black-and-white transparency (24 inches square at times), which he uses to make intaglio like plastic plate in his studio, He uses lithography pigments and an etching  to produce the final prints from the plate.

HOW IT LOOKS: The two series on display are based on characters in several short stories that Mr. Allison has been working on for a decade. The tales are inspired by his college days at Sam Houston State University in Huntsville. a town where "anything could happen," he says.

Nearly all the pieces have broken text from each Story superimposed on the image. Placards next to the work help viewers interpret the passages. One series shows flowers -moStly roses -colored in unnatural hues that make larger versions resemble an abstract painting. Less literal is a triumvirate of lovely O'Keefi'e--esque orchid close-ups in a deep orange-gold. Tomorrow, a short poem and print of a floral over the Wall Street skyline, was made in response 00 Sept 11.

The other set incorporates stills from film-noir movies to characterize Beatrice and Jack, two of Mr. Allison's story subjects. He over saturates the colors and fuzzes out the scenes to evoke even more mystery. The artist says he plans additional ) series based on other tales, a collection of which he hopes to publish someday.

Also included are four older, more traditionally produced prints. Bather and Boatman are two early-'90s examples on paper with syrupy emerald green tone. Big Chief and Black Rose are larger dual- panel versions with a tobacco-brown color. 

DETAILS: On display through Feb. 23 at the gallery, 4935 Byers Ave. in Fort Worth. Hours: ThP-..da.ythmugh Friday from IOa.m. to5 p.m., Saturday 11 a.m. to 4p.m. and by appointment }.fee. 817-737-9566.