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NON TOXIC PRINTMAKING. The declaration of principle - to find materials and methods that are inexpensive in use - easy to acquire - appropriate to use.

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Presentation on theme: "NON TOXIC PRINTMAKING. The declaration of principle - to find materials and methods that are inexpensive in use - easy to acquire - appropriate to use."— Presentation transcript:

1 NON TOXIC PRINTMAKING

2 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

3 Trygve Retvik:....about printmaking About simple printing techniques But most about non toxoc printmaking

4 Little has change since… Rembrandt

5 Environmental problems have by and by become a problem both globally and for the individual.

6 Litterature on Non-toxic Keith Howard:Non-toxi intaglio printmaking Henrik Bøegh: Handbook in Non-toxic intaglio

7 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

8 Which problematic materials are used in the making of intaglio printmaking, and what health hazard can they cause?

9 Problematic materials Nitric acid - White spirit - Methylated spirit – Resin – Etching grounds - Printing Ink - Dust

10 What`s the alternatives Iron chloride – cooking oil and dishwashing soap – Johnson Clear Polish - Different acrylic based materials

11 Standing Bath for iron chloride

12 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

13 For use in the cleaning process of oil-based Ink Cooking oil and dishwashing liquid soap is a very good alternative to white spirit

14 Acrylic materials

15 Stripping acrylic based materials 100 grams washing soda to 1 litre water

16 Some products from the nearest shop we use in non toxic printmaking Washing soda (crystals)JiF Bathroom cleanerJohnson Clear Polish

17 Johnsons Clear Polish as etching ground Line etching with iron chloride in 30 min. The etching ground is Johnson Clear Polish

18 Rolled on Lift ground and hard ground Graphic Chemical Water based in (Crimson red 1661 )

19 Home made Drying cabinet All acrylic based Materials become more solid after 10 minutes in the drying cabinet

20 Graphic Chemical Water based Ink as lift ground Autumnleaves pressed into the lift ground

21 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 etching Key has intervals from 1 min to 28 min 1 min 28 min

22 Aquatint by liquid acrylic mixture, sprayed on by airbrush

23 Anti-oxidising liquid Anti-oxidising liquid is made of 2-3 tablespoons with ordinary table salt mixed in 1 litre 5% vinegar

24 Plastic packing tape to cover the back side

25 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

26 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.

27 Mixed media: collagraphy and photopolymer (ImagOn)

28 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

29 Transparents, originals for exposure A painting with Gouache on a drawing foil Transparent foils

30 The matt foil is removed first

31 Through the intaglio press

32 Trim the film with a sharp knife

33 UV-light exposure cabinet A mercury vapour Lamp (Phillips) A 6 mm glass plate A vacuum frame To close UV-ligth or o controll the time f light Compressor from an old refrigerator The laminated printing plate with the original on the top (between the glass and the v.frame)

34 Developing bath for ImagOn film

35 PHOTOPOLYMER A destroyed streetground can be an exited motif through a cameralence and a printing process

36 Photopolymer Exposed before lamination Print Printing plate

37 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

38 Collagraphic from print Cuba

39 Hand colorated intaglio Rolf Nesch

40 Two examples on collagraphy

41 Collagraphy Here is the material a bathroom filler on acrylic base

42 Bathroom filler on thin aluminium The print The printing plate. Bathroom filler on polystyren

43 Collagraphy with bathroom filler on a polystyren plate

44 PaintOn with Decor Matt Pastel colour Marabu and Carborundum powder to get it more black

45 Thats all folks


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