![]() ![]() He serves on numerous award juries, ranging from the Society of American Graphic Artists to the Lalit Kala Akademi of India.īut it is not his artistic prowess alone that uniquely qualified Krishna Reddy to write a book on printmaking. and Europe, but also in Montreal, Bombay, Melbourne, New Delhi, Buenos Aires, Tokyo, and Beijing. Krishna Reddy's artistic genius brought him universal acclaim: fifty one-man exhibitions have been mounted not only in the U.S. This book demonstrates the intimate connection of the artist with his materials. Reddy's discovery of the principle of color viscosity has greatly simplified technical processes while at the same time increasing the expressiveness and intensity of the image. By varying ink viscosity and roller density, he has achieved colors of extraordinary complexity on the plate. Reddy creates a philosophy for working the image. There are complete formulas, lists of materials and equipment, and step-by-step instructions documented by photos.Īn outstanding innovator and experimenter, Krishna Reddy sees the plate as a sculpted surface, and intaglio printing as a three-dimensional process. This book doesn't expect the reader to know a lot, but at the same time, it doesn't omit any technical detail. Here is a straightforward, comprehensive reference on the art of color printmaking created by Krishna Reddy, one of the world's greatest and most innovative printmakers. Simultaneous Color Printmaking by Combination Processesīleeding or Running of Intaglio and Offset Inks Preparation of the Intaglio Plate and the InksĮxperiment A: Printing by Juxtaposition of ColorsĮxperiment B: Printing by Superimposition of ColorsĮxperiment C: Printing in Color in the "Pointillist Manner"Įxperiment D: Printing by Separation of Intaglio and Surface ColorsĮxperiment E: Printing without use of Viscosity Plate Preparation: Materials and ProcessesĬolor Printmaking: Materials and Processes Introduction to Simultaneous Structuring of Intaglio and Surface Colors in Printmaking This is ideal when moisture tolerance is needed.New Ways of Simultaneous Intaglio and Surface Color Printmaking Remember: Zirconia can be seated conventional for many clinical situations. For additional content on this topic, give this roundtable discussion a read. That’s why it’s vital to clean the intaglio after try-in either by sandblasting or by wiping the inside of the restoration with gauze soaked in 5% sodium hypochlorite, rinse with water and air dry. These phosphate groups from the saliva will grab on to the oxide groups on the zirconia and make it impossible for bonding to take place. Why is this so crucial? Zirconia has oxide groups which bond to phosphate groups in your dental cement However, when you try-in the crown, that process brings the zirconia into contact with saliva, which just so happens to contain a good deal of phosphate as well. Initially, with sandblasting but also important after try-in to clean saliva. Such monomers are used in cement or bonding systems developed for zirconia.įurther, a key to getting strong zirconia bonding is proper preparation of the intaglio surface. Silanes do not bond to zirconia, but phosphate monomers or polyacids bond very strong to zirconia (and do not to glass ceramics!). ![]() Important to know: The zirconia surface is chemically very different to silica based glass ceramics. In fact, bonding of zirconia restorations is easy, but different to glass ceramics. There are myths that you can’t bond to zirconia. ![]()
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