green printmaking.gr
DESCRIPTION
Non-toxic printmaking lecture: techniques and resource materialTRANSCRIPT
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NON TOXIC PRINTMAKING
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”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
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Trygve Retvik: ....about printmakingAbout simple printing techniquesBut most about non toxoc printmaking
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Little has change since…
Rembrandt 1606 - 1669
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Environmental problems have by and by become a problem both globally and for the individual.
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Litterature on Non-toxic
Keith Howard:Non-toxi intaglioprintmaking
Henrik Bøegh: Handbook inNon-toxic intaglio
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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
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Which problematic materials are used in the making of intaglio printmaking,
and what health hazard can they cause?
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Problematic materials
Nitric acid - White spirit - Methylated spirit – Resin –Etching grounds - Printing Ink - Dust
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What`s the alternatives
Iron chloride – cooking oil and dishwashing soap – Johnson Clear Polish - Different acrylic based materials
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Standing Bath for iron chloride
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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
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For use in the cleaning process of oil-based Ink
Cooking oil anddishwashing liquid soap is a very good alternativeto white spirit
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Acrylic materials
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Stripping acrylic based materials
• 100 grams washing soda to 1 litre water
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Some products from the nearest shop we use in non toxic printmaking
Washing soda (crystals) JiF Bathroom cleaner Johnson Clear Polish
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Johnson’s Clear Polish as etching ground
Line etching with ironchloride in 30 min.
The etching groundis Johnson Clear Polish
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Rolled on Lift ground and hard ground
Graphic Chemical Water based in (Crimson red 1661)
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Home madeDrying cabinet
All acrylic based Materials become more solid after10 minutes in the drying cabinet
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Graphic Chemical Water based Ink as lift ground
Autumnleavespressed into thelift ground
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Recipe on Aquatint acrylic mixture
• 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.
This etchingKey has intervals from1 min to 28 min
1 min
28 min
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Aquatint by liquid acrylic mixture, sprayed on by airbrush
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Anti-oxidising liquid
• Anti-oxidising liquid is made of 2-3 tablespoons with ordinary table salt mixed in 1 litre 5% vinegar
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Plastic packing tape to cover the back side
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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
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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.
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Mixed media: collagraphy and photopolymer (ImagOn)
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The working process
• Printing plates (copper) cut to shape, polished with fine sand paper (600 or finer). Good de-greasing.
• 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
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Transparents, originals for exposure
A painting withGouache on adrawing foil
Transparent foils
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The matt foil is removed first
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Through the intaglio press
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Trim the film with a sharp knife
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UV-light exposure cabinet
A mercury vapourLamp (Phillips)
A 6 mm glass plate
A vacuum frame
To close UV-ligth oro controll the timef light
Compressor from an old refrigerator
The laminated printingplate with the originalon the top (between theglass and the v.frame)
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Developing bath for ImagOn film
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PHOTOPOLYMER
A ”destroyed streetground”can be an exitedmotif through a cameralenceand a printing process
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Photopolymer
Exposed before lamination
Print Printing plate
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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
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Collagraphic from print Cuba
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Hand colorated intaglio
Rolf Nesch
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Two examples on collagraphy
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Collagraphy
Here is the material a bathroom filler on acrylic base
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Bathroom filleron thin aluminiumThe print
The printing plate.Bathroom filleron polystyren
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Collagraphy with bathroom filler on a polystyren plate
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PaintOn with
Decor Matt Pastel colour Marabu and Carborundum powder to get it more black
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That’s all folks