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

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 cleaner
Johnson Clear Polish

17. Johnson’s 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.
1 min
This etching
Key has
intervals from
1 min to 28 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. Laminate ImagOn film to the printing plate
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
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

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
Print
Printing plate
Exposed before lamination

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. That’s all folks