Safer Printmaking Symposium

SPW has secured Lottery Funding through Awards for All to host a symposium on safer printmaking. Cedric Green and Nik Semenoff, internationally acclaimed innovators in this field, will be delivering an exciting programme of demonstrations and workshops.

Galvetch and Salt Mordant Workshop: Cedric Green

September 27 and 28: 10am-4pm

In his search for non-toxic approaches to printmaking Cedric Green gradually reformed all his practices and found safe substitutes for the methods which were most hazordous. The research which yielded the richest results was into the early 19th century discovery of electrolytic processes, and in particular "Galvanography" and "Electro-etching". He has used the names "galv-etch" and other names using the prefix "galv" to distinguish his particular contemporary application of these old techniques.

An important personal objective was to use inexpensive generic materials that are locally made or easily obtainable, and to avoid expensive, patented, registered or commercialised processes and products, and to look into the basis of some of these to find the generic or public domain process or chemical on which they are based. The overriding motive for publishing all the findings and experience freely on the internet and in articles and booklet is to make this information widely available to printmakers, and to prevent it from being exploited for commercial gain.

"The workshop will try to communicate in a 'hands-on' way, all the techniques I use in my own work which are covered in the book “Green Prints” (free download from my website www.greenart.info) – galv-etch, galv-on (semi-dry etch), ink ground, fractint, galv-tone and sugar tint (sugar lift with ink ground). As the workshop proceeds I will introduce different techniques as each participant presents the opportunity with his or her prepared plate. I will show how to calibrate the equipment for galv-etch and calculate the time required to etch. With copper plates we will use electrolytic methods, and with zinc plates we will etch with copper sulphate (Bordeaux etch) - wet and semi-dry. I will encourage the use of VCA (vegetable cleaning agent), and other safe ink and ground cleaning solutions."

Waterless Lithography Workshop: Nik Semenoff

September 29 - October 1: 10am-4pm daily

"Waterless lithography is safer, easier, quicker, cleaner, cheaper, more versatile and prints finer detail than traditional processes. It has been accepted by many young lithographers in a number of countries and has become part of
printmakers vocabulary; also goes under the names of Silography, Driography and Silicone Intaglio. While there is a commercial photo-mechanical waterless process, it does not permit direct drawing on plates as my method does.

Now to provide some evidence for the claims I have made:

1. Acetone is the most dangerous materials used in processing plates, and then only if my dry toner technique is used for images. In reality, acetone is nowhere as dangerous as some people try to make it. If you use nail polish remover, then you are already coming in more contact with this solvent. Water soluble materials can be used to produce images, which only requires water to washout the image for printing. Cleanup is done with water based grease removers or made up from household supplies. No need for hydrocarbon solvents.

2. There are no surprises upon proofing a plate - like with grease made images. Once ordinary diluted silicone is applied over the drawn image and cured, it produces very stable plates capable of hundreds of prints.

3. There is no waiting for the chemical reaction between grease and plate to take place; curing of silicone can be hastened with heat, but normally takes place in less than 15 minutes in a properly buffed thin film.

4. Using a siliconed subplate for rollup, there is no ink anywhere except in the image on the plate. Less cleaning material is needed at cleanup time. There is less chance of getting ink on a print by mistake.

5. All materials needed for this process are available at local paint or hardware stores. By recycling backs of once used plates, the cost of this expensive material is greatly reduced again and again. Common construction flashing can be used to greater savings.

6. It can be used with commercial positive photo-plates by using silicone to cover the developed image, instead of gum sealer.There seems to be more techniques possible for me than in the days I was printing with gum-etched plates.

7. Due to the nature of silicone and selected ink, extremely fine detail is printed on direct or offset proofing presses.It has the same capability as commercial offset printing; more than 600 lines per inch as compared to 160 LPI in traditional lithography.

I will show participants how to use dry toner powder for images, as well as many waterbased drawing products.How to dilute, apply and cure silicone.How to recycle the plate after an edition is printed. The best way to make limited changes to the image.Cleanup using waterbased materials instead of hydrocarbon solvents.

Using just the basic waterless process, waterless does more than grease images on stone or plate in traditional litho.For those accustomed in using grease crayons and washes, a simple procedure allows you to print very stable plates. One has to see and experience the process to truly appreciate who versatile it is.

For those interested in intaglio, I have recently found a better mordant that will etch aluminium, copper and zinc. It is less toxic than acids and can be regenerated many times to save money and the environment.This recent development grew out of my research of copper sulfate mordant in 1992. Although I plan to write an article for the refereed journal LEONARDO, I will disclose and demonstrate the formula effectiveness at workshops I will be giving."

Cedric Green

Cedric Green studied architecture and made copper sculpture in South Africa in the 50's, then in the 60's taught in a mission school, studied sculpture in London, and began designing timber solar houses, In the 70's he taught architecture in Sheffield, designed educational games, and won some prizes in competitions for solar houses. Then in the 80's he studied printmaking, moved to France to concentrate on painting and printmaking. His academic career as an architect culminated as visiting Professor in Lausanne at the solar energy laboratory. In the early 90's, searching for less toxic methods, he began to experiment with electrolytic processes, reviving methods originally patented in 1840. His research into 19th century methods led him to Zincography which was used by Paul Gauguin and the Pont Aven artists among others, in which copper sulphate was used to lightly etch zinc lithography plates. He has documented all his research and provided it free on the internet, and since 1997 conducted a campaign to prevent old techniques being claimed as new inventions and patented. His website has 20,000 visitors a month.

 

 

 

 

 

 

Nik Semenoff

Nik Semenoff taught at the University of Saskatchewan for many years and has been Artist-in-Residence there since 1992. His cutting-edge, original research into safer printmaking processes has placed the University of Saskatchewan in the forefront of non-toxic printmaking research and education. Semenoff has invented a number of printmaking processes, in particular the "waterless lithographic process", high resolution screen-printing and specialized inks, which have made major contributions to his discipline. Printmaking is both safer and less expensive using the techniques and materials he has developed. Considered revolutionary, his work has generated considerable interest in the international printmaking community, and he has been regularly invited to present the results of his research at academic conferences and workshops.

This project has been Lottery funded through Awards for All