藍膜版畫

ᆹ˩᱿֬⥆㖈 㖈 ☾⍍ᦹᯉ

Imprint of Times: Blue Film Etching

Trajectory of Times of Printmaking

ᦹᯉ♊⠛᱿ᆹ˩Ⰹ⭤ ᦹᯉᆯ᜺⳵ᙟ⿢᱿З⃥డ♊Ŋㄇ⪝⩴૗घ⩐Ŋ‫˫ר‬ᆯ

♊ञȵЗ⃥♊⠛ԡา⫏᜺ʑൔȶŊʏ૽ᦹᯉₗҘ⸅㔄ᱹ

ːᖁᱹ⊖᱿ḽሳ♊⠛Ŋʬሯ༜រᄎᗶᄊⳍ᱿డңŊ˫

ଭㅮᲿŊぜʴ‫ك‬ະ᫠˩ᦹᯉ᱿ᄞ⋀༈ዾŊሩሷഺЗ⃥‫ؚ‬

‫ד‬ЗႩา⨯ࠣ๗᱿਄˛ȯᦹᯉ᱿༬⠛រջ⎞ᆹΖⳖŊ

‫ח‬ᯍ˩ԡา᱿ᛖଶา∑ȯ

ʏ‫➄ר‬Ҙ᫠˩ᚉ⫄ᮝᙙŊໞᣅᙟ⠗ᄽջ᱿ᮟ᧎ȯഺ㔧 զघ਄ቨԡ̳᱿ᯍ˩♊⠛᳖͗Ŋ⢒ᄲ֬⢌᱿ᦹᯉ఩✕ ⩐ᣅᅘៜ♊⠛᱿ɺ᭔Ŋᆯ♊⠛ᇒ‫ד‬ջ᱿ң㋤ଭ᫠ȯ

቏߭ᦹᯉഺЗ⃥⬕‫׿‬᫠˩Ŋ⣲⨢ʴᆹ˩⩐ⴅ᱿Ⰹ⭤Ŋʬ ᣅቍ͗ԡาԽϊ᱿ᮟᏈջᱹଭŊဏͧʴ♊⠛᱿᳎ඎȯ଎ ҢŊ‫ש‬ᢕᦹᯉ♊⠛ᔕ⃻᫠˩ջ᱿ᘺẌŊᯍ˩ᦹᯉ༬⠛ʬ

ᦹᯉ♊⠛᱿ᱹὉԅ‫ר‬ʀᝒ‫ڥ‬ቄશᄞ⃻Ҥ᱿֬⢌Ŋᮚ⎏

ⳀᔎԽҘഛ֬ȮᤫЭㆴഛȮヅ〉↘ߧŊ˫‫⫅ཾד‬ᾀԡᅘ

‫ד‬ᅠឤ˩ᯉЭᵲԀȮῆُ֬⊮ഐ֬Ŋ˫⎏ᕂ‫ۄ‬᱿ᮬ㋉

༆ᘍŊⳆᆯЗ༫ʝ⳵᱿ᦹᯉㅯະ᫠˚᱿ᮝᙙࠣ๗Ŋԡา

ᄽŊオ଼ᮝᙙະᮢ᱿ȵడ♊ʠ቎ᙟȶŊִℤ༗┮‫≘מ‬

Ἄᶝ᱿〦⼫⣬₪ȯ ⤵ʠŊЗ⃥᱿ᦹᯉ༬♊˜トⲿ⳧Ấ

ᄽᆙរⳖ᱿⋸းȯ⎏ᅠ‫ש‬ᢕ໴ര᱿ᦹᯉᱹଭŊԅഺ߈

༬ᅺᅘሶᯌ᱿⩐ㄊŊⳖ⠗ഐೣԡᅘ᱿૪㊹Ŋ༇⋱᳠ᔌⱧ

ȮʽȠ౺˩᱿㓺ᱺቌԀ⿭আŊⳆᆹቅ᱿ᦹᯉೖ↲ʑߡ

⩐ᣅᙙջ᱿ᄽջ⫏᜺ȯ

㍇Ⲑ߱ɿȠ౺˩໽ဏθ᱿ȵᅘ⎟ቌԀᦹᯉ⳥ՒȶŊ೼ ⦲ḽሳ૯૪᱿ԡ̳⭰ℬŊሱ⃃ሩរ⩐ᣅᄎᗶઽЗ᱿໴ ㌘ቌԀŊᆯᄎᗶ⏧ザᔓሶ᱿⣲⨢ȯҞȠ౺˩Ŋ‫ש‬ᢕ♊ ࣪ⳖҘᱻ␕㕑ᄍ᱿ȵᯉሳᆹ˩ȶŊᐻᏤ᫠˩⇾⠛૪㊹ ⁤Ṙ᱿ȵ᫠˩ᦹᯉሳȶໞἼŊႴཉ₞♊⠛᱿ᦹᯉ᫠˩ ջ⳥Ւʬらʠ⓿␠ȯ

2005౺Ŋռ♊ञȵЗ⃥♊⠛ԡา⫏᜺ʑൔȶ࣑⥑ʴȵ☾ ⍍ᦹᯉȶ᱿ᶇ∳⦩ỄŊ⃻┷ྚ౹ᄞ࿙೧☡⇾ߡ঱ಳᙜ᧚ ፳ञણ‫ל‬ൠ⳵ᄞ࿙͗‫ש‬Ŋ⸒ଃᅘ਄ቨ❘Ԁ᱿☾⍍Ӛᦹ༬ ᘍŊⳖ⠗༬⠛ḻ῅⎞࿴ೊȯⳆỚᅘ᱿ᦹᯉ਄˛ʃ̟Ύሷ З⃥⺁ᦹᯉ᱿⫨฾Ŋⴒ‫֬ר‬⢌ࣱ߱҇Իኈُቌኈᾀʃ‫׺‬ ቨ⫨ʠʀŊᮚ⎏・ᙙ⳥ᮢഛ֬Ȯჶഛُヅ〉ᾀẤ༬ջ᱿

ȵ‫ש‬ᢕ᫠˩ᦹᯉʠ᦬ȶಽΔ౹ᅠɼȠ౺˩ⲙߡŊぜʴ

ᯍ˩਄˛ȯᅹ‫ ר‬ջᤫ᳈Ӛᦹ᱿ұ⿢⢌ỄŊ‫ב‬Ὢ‫⧾׶‬ᖣ

೧Ⳗ᫠˩ᦹᯉ᱿ԡᅘ༬ᘍŊሩञԻ࿴ೊᦹᯉ♊⠛᱿Ԋ

᭔Ύ᱿ᆹ˩⁤ṘŊ‫⦦ר‬ᆯᯍ˩ᦹᯉ༬⠛᱿ɺञἌᶝȯ

⠡⤐൳Ŋᣅԡ̳≛⿭‫ۓ‬ሩ⎊᮫Ȯ૰ೊ᱿ߡも⣶⸆Ŋഛ ㅨ໽‫ד‬Ŋߡҙञ૾⇾⠛Ấ₇な↲⿭Ⲅ᫠˩ᦹᯉ⦩ỄŊ ᦹᯉడ̳ા₥₥⥑ἼŊ˫૾Ꮘ⥑Јḻ῅ᅘ⎟᱿ᦹᯉ༬ ♊Ŋᦹᯉԡ̳᱿ㆺᖎ㔣ᲰȯߡἼ‫ש‬ռ♊⠛ञણघ౺͗ ᄞ࿙᳈〦⦩Ễ᱿┷ྚ౹Ȯ೺ᔌ˒Ȯጪɻ⠘Ȯ⾝ሷⱇُ ᎫᆙⲧᾀŊᲀሯో༫ಽΔ౹Ŋ≟ᗺ⣢ʴ‫ש‬ᢕᦹᯉ᫠˩ 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᱿ⴆႹُ᜾Ј..............

Selection & Preparation of Blue Film

IV ☾⍍ᦹᯉ᱿ࡣ቏༬ᘍ.......

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.

ቨᅆ᜾Јُ᝘᚝ⶪ⢌ 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.

ቨᅆ᜾Јُ᝘᚝ⶪ⢌ Preparation of Materials &

1.

ᯘଶᘍ........................ 076 Layered Method A.

Solution B.

Ⴝ̳ᅞᘍ Operation Method

ᯘଶ౑ᮢᘍ 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⏨ᛜ‫֬׶‬ӽ............. 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

ӛᦹ‫ ̤܈‬: ߡἼ ⎔ռ♊⠛ञણ ᱹ ⠗ ː :ቒ શ ๸ ߸

߽ : ‫ש‬ռఱռ༼֒ણߤ⭰1⚦

ヅ

⥾ : 02-28961000(˩⠧⚦)

ℐ

߽ : http://www2.tnua.edu.tw/tnua/

̳

≛ : ‫⳵ ⎐ל‬Ȯ┷ྚ౹Ȯ԰⻿ᓏ

ࡠ⠗ℶⱓ : ቦ ゜ ฒ ჶ

ഛ :⴯ᆙᤕȮ᪗ㅉᇜ

␿ᄽዮଃ : Maggie Hamel McCloud

֬ӽᄲ⸇ :1000቏ ӛᦹᅺቅ : 2007 ౺7 ሶ હ

ъ : ᅘ‫ש‬౬500Ҁ

ISBN-13 : 978-986-00-9380-3 ( ౹ ⡶ ) GPN : 100-9601-089 ᦹᓏ ໽ሷ Ȯ⦼ խ≒֬ All rig h t rese rve d .