Transcript NON TOXIC PRINTMAKING - Coleg Cambria

NON TOXIC PRINTMAKING
”The declaration of principle”
• - to find materials and methods that are
inexpensive in use
• - easy to acquire
• - appropriate to use
• -non-toxic or enviromentally safe
Trygve Retvik:
....about printmaking
About simple printing techniques
But most about non toxoc printmaking
Little has change since…
Rembrandt 1606 - 1669
Environmental problems have by and by become a
problem both globally and for the individual.
Litterature on Non-toxic
Keith Howard:Non-toxi intaglio
printmaking
Henrik Bøegh: Handbook in
Non-toxic intaglio
Henrik Bøegh: It is well known
that traditional graphic
materials contain a cocktail of
healthy and environmentally
harmfull acids and chemicals,
that are without parallell in
creative arts. They can each
have their particular
charakteristics that are
harmfull for artists´health abd
tne environment, but used
together represent a very
dangerous threat to anyone
that use them frequently
Which problematic materials
are used in the making of
intaglio printmaking,
and what health hazard can
they cause?
Problematic materials
Nitric acid - White spirit - Methylated spirit – Resin –
Etching grounds - Printing Ink - Dust
What`s the alternatives
Iron chloride – cooking oil and dishwashing soap –
Johnson Clear Polish - Different acrylic based materials
Standing Bath for iron chloride
Recipe for the etching bath
• 1 kilo iron cloride in solid form (granulated) mixed with
2,5 litres warm water. This is equivalent to 30 degrees
Baumé. This strength can also be used on zink (for
standing bath)
• For etching on copper in Edinburgh Etch mix ¼ litre
lemon acid powder in ¾ litre water (fine aquatints add
som more water) Add 4 litres liquid iron chloride.
• For etching on zink with Edinburgh Etch mix
1/ 2- 1/3 litre lemon powder in 1 litre iron chloride and mix
this in 5 litres of water
For use in the cleaning process of
oil-based Ink
Cooking oil and
dishwashing liquid
soap is a very good
alternative
to white spirit
Acrylic materials
Stripping acrylic based materials
• 100 grams washing soda to 1 litre water
Some products from the nearest shop we
use in non toxic printmaking
Washing soda (crystals) JiF Bathroom cleaner
Johnson Clear Polish
Johnson’s Clear Polish as etching ground
Line etching with iron
chloride in 30 min.
The etching ground
is Johnson Clear Polish
Rolled on Lift ground and
hard ground
Graphic Chemical Water based in (Crimson red 1661)
Home made
Drying cabinet
All acrylic based
Materials become
more solid after
10 minutes in the
drying cabinet
Graphic Chemical Water based Ink
as lift ground
Autumnleaves
pressed into the
lift ground
Recipe on Aquatint acrylic mixture
1 min
This etching
Key has
intervals from
1 min to 28 min
28 min
• ½ parts volume Stop-Out
varnish
• ½ part clean water
This mixture is spread on
a clean and well
degreased copperplate
with an air-brush,
pressure 2-3 bar at a
distance of 20 – 30 cm.
• 2 parts volume
Transparent lacquer from
Lascaux 2060 shiny.
Aquatint by liquid acrylic mixture, sprayed on by
airbrush
Anti-oxidising liquid
• Anti-oxidising liquid is made of 2-3
tablespoons with ordinary table salt mixed
in 1 litre 5% vinegar
Plastic packing tape to cover the back side
Photopolymér and Photo engraving
The starting point here is three fotos, treated through the PC program;
Paint Shop Pro, exposed into ImagOn film and etches in iron chloride
and printed as intaglio
Developing liquid
In a 10 litres container with tap, mix 100
grams of washing soda in 10 litres of
water. A little of the water is heated up to
aid the dissolving of the washing soda
crystals.
This mixture should be kept at an even 20
degrees Celcius.
Mixed media:
collagraphy and
photopolymer
(ImagOn)
The working process
• Printing plates (copper) cut to shape, polished
with fine sand paper (600 or finer). Good degreasing.
• Laminate ImagOn film to the printing plate
• Expose the aquatint raster (not necessary if only
line motif)
• Expose the original
• Develope the film
• Ink the printing plate and print as a normal
intaglio
Transparents, originals for exposure
A painting with
Gouache on a
drawing foil
Transparent foils
The matt foil is removed first
Through the intaglio press
Trim the film with a sharp knife
UV-light exposure cabinet
To close UV-ligth or
o controll the time
f light
A mercury vapour
Lamp (Phillips)
A 6 mm glass plate
The laminated printing
plate with the original
on the top (between the
glass and the v.frame)
A vacuum frame
Compressor from an
old refrigerator
Developing bath for ImagOn film
PHOTOPOLYMER
A ”destroyed streetground”
can be an exited
motif through a cameralence
and a printing process
Photopolymer
Printing plate
Print
Exposed before lamination
Collagraphy
Collagraphy is a flexible printmaking technique wich
contains the special peculiarities of printmaking together
with the painterly and the sculptural. The expression can
remind one of traditional aquatint where tones from white
to velvet black can be achived. Painterly effects can
remind one of lithography, whose hallmark is that the
drawn and the painted media can be used, and gives the
picture its character. It is also possible to achieve a
strong textured expression through differences in layer in
a built-up printing plate
Collagraphic from print Cuba
Hand colorated intaglio
Rolf Nesch
Two examples on collagraphy
Collagraphy
Here is the material a bathroom filler on acrylic base
Bathroom filler
on thin aluminium
The print
The printing plate.
Bathroom filler
on polystyren
Collagraphy with bathroom filler on a
polystyren plate
PaintOn
with
Decor Matt Pastel colour Marabu and Carborundum
powder to get it more black
That’s all folks