Graciana Piaggio

01 / 10

I split the image into CMYK: four decisions I can rebuild, layer by layer.

Technical notes:

I prepare CMYK separations so each layer can be printed and registered with its corresponding negative.

The negative is tonal control. Calibration protects luminosity later.

Technical notes:

Each channel becomes a large-format digital negative on transparency film. I print with carbon ink through QuadToneRIP using curves refined through CMYK linearization tests.

I stabilize the sheet before printing. Registration depends on that stillness.

Technical notes:

I pre-shrink the paper in hot water to reduce later movement that can blur and misalign successive layers.

The paper must return to a steady state before I sensitize it.

Technical notes:

After soaking, I hang the sheet and let it dry completely before moving on.

Sometimes I begin with a base—an anchor before color.

Technical notes:

Depending on the image, I may begin with Ziatype or Cyanotype (or combine them) before building gum color in successive layers.

A thin gelatin size keeps pigment on the surface, where light can shape it.

Technical notes:

Sizing helps reduce staining, keep highlights clean, and support repeated layers and washes.

Small ratios decide everything: gum, dichromate, pigment.

Technical notes:

I mix gum arabic, dichromate, and watercolor pigment in tuned quantities to preserve transparency and luminosity across layers.

Brushing defines the character of each layer.

Technical notes:

I control thickness and edge behavior. The brushwork remains as part of the print’s language.

Light hardens what should remain; water takes the rest.

Technical notes:

Once dry, I expose the sheet under UV light in direct contact with the negative.

Wash. Dry. Re-register. Repeat.

Technical notes:

The print develops in water, then dries completely before the next layer. I re-register the next negative and repeat, adjusting the layer balance as contrast grows—protecting highlights.