ᆹ˩᱿֬⥆㖈 㖈 ☾⍍ᦹᯉ
Imprint of Times: Blue Film Etching
Trajectory of Times of Printmaking
ᦹᯉ♊⠛᱿ᆹ˩Ⰹ⭤ ᦹᯉᆯᙟ᱿З⃥డ♊Ŋㄇ⪝⩴घ⩐Ŋ˫רᆯ
♊ञȵЗ⃥♊⠛ԡา⫏ʑൔȶŊʏ૽ᦹᯉₗҘ⸅㔄ᱹ
ːᖁᱹ⊖᱿ḽሳ♊⠛Ŋʬሯ༜រᄎᗶᄊⳍ᱿డңŊ˫
ଭㅮᲿŊぜʴكະ˩ᦹᯉ᱿ᄞ⋀༈ዾŊሩሷഺЗ⃥ؚ
דЗႩา⨯ࠣ๗᱿˛ȯᦹᯉ᱿༬⠛រջ⎞ᆹΖⳖŊ
חᯍ˩ԡา᱿ᛖଶา∑ȯ
ʏ➄רҘ˩ᚉ⫄ᮝᙙŊໞᣅᙟ⠗ᄽջ᱿ᮟȯഺ㔧 զघቨԡ̳᱿ᯍ˩♊⠛᳖͗Ŋ⢒ᄲ֬⢌᱿ᦹᯉ✕ ⩐ᣅᅘៜ♊⠛᱿ɺ᭔Ŋᆯ♊⠛ᇒדջ᱿ң㋤ଭȯ
߭ᦹᯉഺЗ⃥⬕˩Ŋ⣲⨢ʴᆹ˩⩐ⴅ᱿Ⰹ⭤Ŋʬ ᣅቍ͗ԡาԽϊ᱿ᮟᏈջᱹଭŊဏͧʴ♊⠛᱿ඎȯ ҢŊשᢕᦹᯉ♊⠛ᔕ˩ջ᱿ᘺẌŊᯍ˩ᦹᯉ༬⠛ʬ
ᦹᯉ♊⠛᱿ᱹὉԅרʀᝒڥቄશᄞҤ᱿֬⢌Ŋᮚ⎏
ⳀᔎԽҘഛ֬ȮᤫЭㆴഛȮヅ〉↘ߧŊ˫⫅ཾדᾀԡᅘ
דᅠឤ˩ᯉЭᵲԀȮῆُ֬⊮ഐ֬Ŋ˫⎏ᕂۄ᱿ᮬ㋉
༆ᘍŊⳆᆯЗ༫ʝ᱿ᦹᯉㅯະ˚᱿ᮝᙙࠣ๗Ŋԡา
ᄽŊオ଼ᮝᙙະᮢ᱿ȵడ♊ʠᙟȶŊִℤ༗┮≘מ
Ἄᶝ᱿〦⼫⣬₪ȯ ⤵ʠŊЗ⃥᱿ᦹᯉ༬♊˜トⲿ⳧Ấ
ᄽᆙរⳖ᱿⋸းȯ⎏ᅠשᢕര᱿ᦹᯉᱹଭŊԅഺ߈
༬ᅺᅘሶᯌ᱿⩐ㄊŊⳖ⠗ഐೣԡᅘ᱿૪㊹Ŋ༇⋱᳠ᔌⱧ
ȮʽȠ౺˩᱿㓺ᱺቌԀআŊⳆᆹቅ᱿ᦹᯉೖ↲ʑߡ
⩐ᣅᙙջ᱿ᄽջ⫏ȯ
㍇Ⲑ߱ɿȠ౺˩ဏθ᱿ȵᅘ⎟ቌԀᦹᯉ⳥ՒȶŊ ⦲ḽሳ૯૪᱿ԡ̳⭰ℬŊሱሩរ⩐ᣅᄎᗶઽЗ᱿ ㌘ቌԀŊᆯᄎᗶ⏧ザᔓሶ᱿⣲⨢ȯҞȠ౺˩Ŋשᢕ♊ ࣪ⳖҘᱻ␕㕑ᄍ᱿ȵᯉሳᆹ˩ȶŊᐻᏤ˩⇾⠛૪㊹ Ṙ᱿ȵ˩ᦹᯉሳȶໞἼŊႴཉ♊⠛᱿ᦹᯉ˩ ջ⳥Ւʬらʠ⓿␠ȯ
2005౺Ŋռ♊ञȵЗ⃥♊⠛ԡา⫏ʑൔȶ࣑⥑ʴȵ☾ ⍍ᦹᯉȶ᱿ᶇ∳⦩ỄŊ┷ྚ౹ᄞ࿙೧☡⇾ߡಳᙜ᧚ ፳ञણלൠᄞ࿙͗שŊ⸒ଃᅘቨ❘Ԁ᱿☾⍍Ӛᦹ༬ ᘍŊⳖ⠗༬⠛ḻ⎞ೊȯⳆỚᅘ᱿ᦹᯉ˛ʃ̟Ύሷ З⃥⺁ᦹᯉ᱿⫨Ŋⴒ֬ר⢌ࣱ߱҇Իኈُቌኈᾀʃ ቨ⫨ʠʀŊᮚ⎏・ᙙ⳥ᮢഛ֬Ȯჶഛُヅ〉ᾀẤ༬ջ᱿
ȵשᢕ˩ᦹᯉʠȶಽΔ౹ᅠɼȠ౺˩ⲙߡŊぜʴ
ᯍ˩˛ȯᅹ רջᤫӚᦹ᱿ұ⢌ỄŊבὪ⧾ᖣ
೧Ⳗ˩ᦹᯉ᱿ԡᅘ༬ᘍŊሩञԻೊᦹᯉ♊⠛᱿Ԋ
᭔Ύ᱿ᆹ˩ṘŊ⦦רᆯᯍ˩ᦹᯉ༬⠛᱿ɺञἌᶝȯ
⠡⤐൳Ŋᣅԡ̳≛ۓሩ⎊᮫Ȯ૰ೊ᱿ߡも⣶⸆Ŋഛ ㅨדŊߡҙञ૾⇾⠛Ấ₇な↲Ⲅ˩ᦹᯉ⦩ỄŊ ᦹᯉడ̳ા₥₥⥑ἼŊ˫૾Ꮘ⥑Јḻᅘ⎟᱿ᦹᯉ༬ ♊Ŋᦹᯉԡ̳᱿ㆺᖎ㔣ᲰȯߡἼשռ♊⠛ञણघ౺͗ ᄞ࿙〦⦩Ễ᱿┷ྚ౹Ȯᔌ˒Ȯጪɻ⠘Ȯ⾝ሷⱇُ ᎫᆙⲧᾀŊᲀሯో༫ಽΔ౹Ŋ≟ᗺ⣢ʴשᢕᦹᯉ˩ ջ᱿♊⠛⋸⃘ȯໟᅠռ♊ञዮ˶ҙŊⶪ⠗ᄎず Ւ᱿ᄽջԡาᮟᏈᱹଭ⤺ᯉŊ᮫ᄞ⋀ⵒএ⥅ໞἼռ
⠗ᄎずᄽջ⥑এڂሳ ȭȭȭȭȭȭȭȭȭ ʙ˶এ⏦ࠍ ڂ
Trajectory of Times of Printmaking
Printmaking is a versatile yet conventional craft that
promoted by Lu Shun during the 40s in China. Even-
can be traced back thousands of years. It can also be
tually printmaking became a tool for political propa-
viewed as a social art because it reflects the opinions
ganda by the KMT government, witnessing a time of
of many and is a tool of political reformation as well as
political hardship. In the 70s, the Modern Printmaking
a medium for communicating ideologies. The technical
Association advocated the modern experimental fine
advances in printmaking allow it to be infused into the
arts. This modernization movement in printmaking em-
life of the modern consumer as a product of the cur-
braced this simple art form when Taiwan was entering
rent culture. From the perspective of contemporary art,
into an era of printing associations that tolerated all
which has encouraged the development of multi-media
aspects of the arts. Mr. LIAO, Hsiu-Ping, honored as
works, printmaking has been transformed into one of
the Father of Modern Printmaking in Taiwan, returned
the new trends in art and consequently has become a
to Taiwan in the 80s to introduce creative techniques
very popular art form.
of modern printmaking and to actively promote the “
The development of printmaking in China as an art form dates back to the printing of religious scriptures in the Tang Dynasty. Older evidence of printmaking dates to the stone carved portraits, seals with character imprints, images representing the Han Dynasty, and the inscriptions on bones or tortoise shells in the later half of the Shang Dynasty. Even though printmaking, in the past, had a lower status as an art form, the block print is closely associated with the ancient cultures. In Taiwan, the development of printmaking after WWII began with the black and white wood carving. In the 50s and 60s, the wood block was essentially an extension of the creative line addressing social realism in the emergent wood carving printmaking movement
avant-garde” concepts of printmaking which opened the minds of artists to a more liberal and wide-spread international vision. Affected by his efforts courses in modern printmaking were offered by departments of fine arts in domestic colleges and new studios were established to demonstrate the emerging techniques in printmaking. Professors DAWN, Chen-Ping, CHANG, Jen-Ren, MAY, Ding-Yen, CHUNG, Yoe-Hue, and YANG, Ming-Dae who taught for years at the National Taipei University of Arts (NTUA), were all students of Mr. LAIO, Hsiu-ping who worked to promote the modernization of printmaking. While I was President of NTUA, I was approached by the Ministry of Education to develop programs that furthered the creative education at the university-level. A key element in this initia-
tive was developing educational programs in the art of
the traditional techniques of art remain to carry out the
modern printmaking.
experimental forms of creativity through the rapidly
The programming developed at the University included
advanced technologies before being transformed into
the traditional beginnings of printmaking as well as
culture.
the modern ideologies. In addition, printmaking was
A workshop in blue film etching was added to the
to reect the transitions of the times and also provide
Traditional Art Creativity Resources Center by NTUA
for future development of the commercial production
in 2005. Professor CONG, Zhiyuan from William Pat-
in printmaking. The contemporary techniques of print-
terson University in the USA, as referenced by Pro-
making in Taiwan have been gradually added including
fessor DAWN, Chen-ping, was retained by NTUA to
those of photocopying, photo-imaging, computer aided
demonstrate and promote the techniques of blue ďŹ lm
plotting, and collage. These new techniques were
intaglio as a new etching medium in Taiwan. This new
encouraged to be combined with the more traditional
etching medium, while preserving the sense of quality
methods. In summary, the traditional techniques of art
of the conventional copperplate printing, further al-
remain to carry out the experimental forms of creativ-
lows the printing on different materials including acrylic
ity through the rapidly advanced technologies before
plates and wooden boards, and even the more agile
being transformed into culture.The programming de-
applications in the contemporary hi-tech media includ-
veloped at the University included the traditional begin-
ing photocopying, photography, and the computer.
nings of printmaking as well as the modern ideologies.
Blue ďŹ lm etching has successfully shortened the long
In addition, printmaking was to reflect the transitions
and tedious process of the photographic intaglio while
of the times and also provide for future development
complying with the modern awareness of environmen-
of the commercial production in printmaking. The con-
tal protection. It has indeed achieved a major break-
temporary techniques of printmaking in Taiwan have
through in contemporary printmaking.g and tedious
been gradually added including those of photocopying,
process of the photographic intaglio while complying
photo-imaging, computer aided plotting, and collage.
with the modern awareness of environmental protec-
These new techniques were encouraged to be com-
tion. It has indeed achieved a major breakthrough in
bined with the more traditional methods. In summary,
contemporary printmaking.
CHIU, Kun-liang Council for Cultural Affairs
☾⍍ᦹᯉ:ᆹ˩᱿֬⥆ IMPRINT OF TIMES : BLUE FILM ETCHING
I
II
ഺᦹᯉ᱿ᆹ˩Ṙ⦹☾⍍ᦹᯉ....012 Blue Film Etching and the History of Printmaking ᯍ˩ᗼ⎞☾⍍ᦹᯉ....... Contemporary Status & Blue Film Etching
2.
ᦹᯉԡ̳ợ᱿Јُ⢌̳..........
A.
₪ဎợ Drawing Preparing
018
B.
ヅ〉ᄲ̤ߧợ Digital Images
C.
III ☾⍍ᦹᯉ᱿⦘ᮝُᱹଭ..... Blue Film Etching: Birth & Development
⢒֬ߧợ Photocopied Images
032
3.
☾⍍ᦹ᱿ⴆႹُЈ.............. Selection & Preparation of Blue Film
IV ☾⍍ᦹᯉ᱿ࡣ༬ᘍ....... Approaches to Blue Film Etching 1.
☾⍍ᦹᯉ᱿డ̳ાُࡣ⥑Ј....
044
A.
☾⍍ಎኈ᱿ⴆႹ Selecting the Form of Blue Film Plate (1)
Acrylic Plate (2)
(3)
Јᦹడ̳֒
Cleaning and Degrease Workstation
ቌኈ Wooden Plate
Plate Preparing Workstation ᗴᖸడ̳֒
⺁ኈُҢ˟⸉଼ኈ Copper and Other Metal Plates
Film Etching
B.
ࣱ҇Իኈ
044
Workshop & Basic Facilities of Blue
A.
B.
☾⍍ಎኈ᱿⚠ Treatment of Blue Film Carrier Plate
C.
⫅☾⍍డ̳֒ Plate Lamination Workstation
D.
ሚ҆డ̳֒
(1)
☾⍍ߧЭ❘֒
(2)
ᦹᯉ֬ӽ֒
(3)
ᦹᯉᇟʯŊ⽕౹డ̳֒ Drying & Flattening Work Area
006
ཛྷ҆ Polishing
Printing Area G.
ྗⴗ⤑ Corner and Edge Beveling
Blue Film Developing Area F.
⥑Јُቨᅆ Equipment & Materials
Exposure Workstation E.
047
Preparation and Production of Artwork
(4)
ᗴ⭤ Degrease Procedure
049
Contents Ჿ⻞ 4.
☾⍍⫅ᦹ......................
052
Plate Lamination A.
7.
֬ӽ.......................... 066 Printing A.
ቨᅆדడң
Tools & Materials
Tools & Materials B.
B.
Ⴝ̳ᅞᘍ
C.
☾⍍ሚ҆......................
054
Exposure A.
ʀࣘ Inking
D.
ቨᅆדడң
હُ̤֬ӽ Registration & Printing
Tools & Materials B.
Ј₣ Preparing Paper
Operating Method
5.
ቨᅆדడң
E.
ሚ҆ᛵ⥶
ᛤះ⎞Ѳએ Clean & Storage
Exposure Test C.
☾⍍ሚ҆Ễ Exposure Procedure
6.
☾⍍ߧᦹ᱿❘................
060
Blue Film Developing A.
ቨᅆЈُⶪ⢌ Preparing Materials & Solution (1)
ቨᅆדడң Tools & Materials
(2)
ⶪ⢌ Preparing Solution
B.
❘ᛵ⥶ Developing Test
C.
☾⍍❘Ⴝ̳Ễ Developing Operation Procedure
D.
☾⍍ᦹ᱿Ѳએ⎞⸅⢌ Storage & Rework of Blue Film Plate
007
☾⍍ᦹᯉ:ᆹ˩᱿֬⥆ IMPRINT OF TIMES : BLUE FILM ETCHING
V
☾⍍ᦹᯉ᱿᧚ᔢ༬ᘍ....... 074 Blue Film Etching Specific Technical Methodology
5.
Ⳍ❘ᖛࣘᯉᘍ................... 088 Spit-bite Ink Painting Method A.
ቨᅆЈُⶪ⢌ Preparation of Materials &
1.
ᯘଶᘍ........................ 076 Layered Method A.
Solution B.
Ⴝ̳ᅞᘍ Operation Method
ᯘଶᮢᘍ Common Layered Method
B.
Ң˟ᯘଶᘍ Other Layered Methods
2.
Ო⢷ཾ⫅ᘍ.................... 078 Crumpled Collage Method A.
VI ☾⍍ᦹᯉ᱿ഔ⏨֬ӽ........094 Color Printing of Blue Film Etching 1.
ᦹᯉ⏨ഔ᱿᧚㔄ُ׆ԅ........... 096 Characteristics & Principles of
ⰶ㋤ᦹ⢌̳
Etching Inks
Production of Carrying Plate A. B.
C.
D.
ᗴඖӚᦹ֬ࣘדҢᛟԽԵ
Ო⢷ཾ⫅ଶ☾⍍҆
Oil-base Etching Inks & Their
Exposing the Blue Film
Modifiers
Ო⢷ཾ⫅Ὦʷଶ☾⍍
B.
ᖛඖӚᦹ֬ࣘדҢᛟԽԵ
Manipulation the Blue Film
Water-base Etching Inks & Their
Ო⢷ཾ⫅❘
Modifiers
Developing
C.
͐ᮢ֬ࣘ᱿ᘜาʶㅮ Notes on Using Ink
3.
⡣ₕᘍ........................ 082 Cracking Method A.
2.
ᦹ܈घᓝ֬וᘍ................. 099 The Counterproof Method
ቨᅆדడң Tools & Materials
B.
⢌̳Ễ
3.
Overlap Printing
Production Procedure
4.
⇾ᖡᘍ...................... 086 Mezzotint Method A.
⢌̳Ễ Production Procedure
008
4.
ᦹ܈घ⏨ɺᓝ֬ӽ............... 105 ALa Poupee
ቨᅆדడң Tools & Materials
B.
⸅ᦹ܈ᯘ֬ӽ................... 102
5.
ᦹ܈घ⏨घᓝ֬ӽ............... 106 One-plate Multi-color Multi-printing
Contents Ჿ⻞ 6.
7.
ཾ⢁֬ӽņʑߡ⍑₣ᘍŇ...... 107 Chine Colle Method घᦹघ⏨ᛜ֬ӽ............. 109 Multi Plate Multi Color Mix
D.
࣑㓸֬ӽᘍ Addtive Viscosity Method (1)
Preparing Inks (2)
Printing
ᗴࣘ⦲ⶪ
֬ӽ Printing
A.
₪ဎợ⢌̳ Production of Drawing
B.
⢌ᦹ Plate Making
C.
⦲ⶪ⏨ഔ֬ࣘ Preparing Color Inks
D.
VII ☾⍍ᦹᯉ᱿ະᮢُߧ͛.........121 Applications & Illustrations of Blue Film Etching
֬ӽ
VIII ̳≛ ˛.................... Introduction of Authors
128
Printing
8.
㓸ඖᛜ⏨֬ӽ................. 114
IX ᦹᯉቨᅆͧະ≙אۄ...........134 List of suppliers
Viscosity Method A.
㓸ඖᛜ⏨֬ӽ᱿׆ Working Principle of Viscosity
X ര⥆........................ Acknowledgments
135
Method (1)
㓸ඖಙ Viscosity
(2)
Ӛәଶᓝ Gravure Gradation
(3)
֬ࣘញᾉ᱿Ⱆᶶಙ Ink Roller Hardness
B.
㓸ඖᛜ⏨֬ӽ᱿ൕЈጻ˴ Prerequisites of Viscosity
C.
ᅐ֬ӽᘍ Rejective Viscosity Method (1)
ᗴࣘ⦲ⶪ Preparing Ink
(2)
֬ӽ Printing
009
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ࡠ⠗ℶⱓ : ቦ ゜ ฒ ჶ
ഛ :ᆙᤕȮ᪗ㅉᇜ
ᄽዮଃ : Maggie Hamel McCloud
֬ӽᄲ⸇ :1000 ӛᦹᅺቅ : 2007 ౺7 ሶ હ
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ISBN-13 : 978-986-00-9380-3 ( ౹ ⡶ ) GPN : 100-9601-089 ᦹᓏ ሷ Ȯ⦼ խ≒֬ All rig h t rese rve d .