Printmaking Revolution: New Advancements in Technology, Safety, and Sustainability

Printmaking Revolution: New Advancements in Technology, Safety, and Sustainability

Language: English

Pages: 240

ISBN: 0823008126

Format: PDF / Kindle (mobi) / ePub

A tome of the newest advances in printmaking for today’s environmentally conscious art students, master printers, teachers, and artists
Etching, lithography, and screenprinting shouldn’t be harmful to the artist or the planet. With cutting edge, never-before-published advances in printmaking media, Printmaking Revolution provides artists, students, and teachers alike with safer, environmentally friendly and non-carcinogenic methods for creating beautiful prints. Inside, teacher and professional artist, Dwight Pogue offers groundbreaking information on embracing green, petroleum-free, nontoxic materials that comply with the Environmental Protection Agency (EPA) and Occupational Safety and Health Administration (OSHA) requirements. With new alternatives for the modern era, and work by some of today’s most notable artists, including Janet Fish, James Rosenquist Walton Ford, and Louisa Chase, this book truly revolutionizes the techniques, materials, and processes of a time-honored medium.

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ready to be drawn upon with traditional lithographic drawing materials. Once the drawing is complete and the plates are being etched, the gum etch will remove the inert red inkjet ink, just as red Conté crayon is removed when it is used as a transfer material. Brief History: digital direct-to-plate techniques During fall 2002, I was helping students to print images as film positives for Posi-Grain pre-sensitized plates. It occurred to me we might try feeding a Posi-Grain plate through the Epson

washing machines. It is designed to uniformly ink larger images on plates and stones without leaving overlapping roller marks. It is based on the principle of the multiple inking rollers used on production rotary offset presses. The two lower rollers are spaced evenly apart and the upper roller “rides” on the lower rollers through gravity. When not in use, the triple roller is turned upside down and placed on a table, causing the top roller to disengage from the two lower rollers. To clean the

onto the frame and fabric where the wood glue was applied. Repeat this process with the remaining three sides. Pay extra attention to making the tape tight-fitting at the inside corners so that when the glue has dried and the tape been varnished, no water can enter when sprayed under pressure. Next, turn the frame over and check to see if the tape on the inside of the frame lines up reasonably well with the tape on the outside of the frame. If not, you may apply another layer of tape on the

directly to the screen mesh, filling the openings in the weave of the mesh. They are referred to as “screen fillers.” To use screen filler, the artist simply paints or spreads quick-drying filler over selected parts of the screen fabric. When dry, the filler blocks the screen mesh in the desired configuration. Filler may be applied with paintbrushes or scrap pieces of mat board that serve as squeegees. Sharply defined edges may be achieved by first using clear packing tape to protect the image

films. Making halftone films for screenprinting is the same as for lithography except for two differences: Halftone films for screenprinting typically use larger dots because the openings in the screen mesh cannot accommodate smaller dots. For screenprinting, 45 to 65 lpi are recommended, as opposed to the 65 to 177 lpi called for in lithography. Screenprinting typically uses an elliptical dot, whereas in lithography a round dot is preferable. In screenprinting, as in lithography, when printing

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