5Environmental problems have by and by become a problem both globally and for the individual.
6Litterature on Non-toxic Henrik Bøegh: Handbook inNon-toxic intaglioKeith Howard:Non-toxi intaglioprintmaking
7Henrik 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
8Which problematic materials are used in the making of intaglio printmaking, and what health hazard can they cause?
12Recipe 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 mix1/ 2- 1/3 litre lemon powder in 1 litre iron chloride and mix this in 5 litres of water
13For use in the cleaning process of oil-based Ink Cooking oil anddishwashing liquidsoap is a very goodalternativeto white spirit
20Graphic Chemical Water based Ink as lift ground Autumnleavespressed into thelift ground
21Recipe on Aquatint acrylic mixture ½ parts volume Stop-Out varnish½ part clean waterThis 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 minThis etchingKey hasintervals from1 min to 28 min28 min
22Aquatint by liquid acrylic mixture, sprayed on by airbrush
23Anti-oxidising liquid Anti-oxidising liquid is made of 2-3 tablespoons with ordinary table salt mixed in 1 litre 5% vinegar
25Photopolymér 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 chlorideand printed as intaglio
26Developing liquidIn 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.
27Mixed media: collagraphy and photopolymer (ImagOn)
28Laminate ImagOn film to the printing plate The working processPrinting plates (copper) cut to shape, polished with fine sand paper (600 or finer). Good de-greasing.Laminate ImagOn film to the printing plateExpose the aquatint raster (not necessary if only line motif)Expose the originalDevelope the filmInk the printing plate and print as a normal intaglio
29Transparents, originals for exposure A painting withGouache on adrawing foilTransparent foils
33UV-light exposure cabinet To close UV-ligth oro controll the timef lightA mercury vapourLamp (Phillips)A 6 mm glass plateThe laminated printingplate with the originalon the top (between theglass and the v.frame)A vacuum frameCompressor from an old refrigerator
35PHOTOPOLYMER A ”destroyed streetground” can be an exited motif through a cameralenceand a printing process
36PhotopolymerPrintPrinting plateExposed before lamination
37CollagraphyCollagraphy 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