The printmaking process once relied on the use of a grease tusche, which is a liquid drawing ink that was messy and had its share of challenges. The shortcomings of the tusche included adherence to the working material, the fact that it usually came out darker than the original drawing and tints and contrasts were inaccurate and poorly represented. This substance also carried serious risks along with it such as inhalation hazards and also skin and eye irritation. Dry copier toner is a modern alternative that is safer, cleaner, and easier to work with.
Nik Semenoff is known as the founder of dry copier toner ink usage for the purpose of waterless, safer and higher quality
lithography. Dry copier toner has some very desirable characteristics for printmaking, such as acting like a delicate masking substance and the non transparent nature of the particles result in excellent positive that are beneficial for several types of printing. This
toner is readily available, both new and used in areas where
recycled cartridges can be found. The substance is perfect for lithography because no phantom images appear and if mistakes are made, they can be erased and redone. Upon completion of transferring the image to the metal or stone media, heat or a solvent can be applied to make the picture complete.
Using dry copier toner
ink cartridges is a safer and more environmentally-friendly method, though still not non-toxic by any means. Grease tusche radiates fumes and has additional long-term
health risks associated with using it. Printmaking solvents and products have been known to cause cancer, contain toxins, cause diseases, and have been known to lead to dermatitis. It is a very good idea to use the least harmful products available because of the seriousness of these side effects. The use of dry
copier toner eliminates any fumes and is easier to contain that the chemicals of the past.
Other ways to create a safer working environment include increasing the ventilation to outside vents, wearing protective clothing, and storing chemicals in areas where they will not mix. It is good practice not to blend any chemicals together where an unknown reaction may occur and it’s critical to keep the chemicals in an area where they are not accessible to people who have no business using them, like children. Disposal of printmaking chemicals should be done so responsibly and with caution, and this will reinforce the commitment to the overall safety of the entire printmaking process.
The interest in making prints from one surface and transferring them to another has growing for a century now. Processes were initially crude and messy and had their share of shortcomings. Over the course of time the real hazards of the process were identified and one dedicated enthusiast, Nik Semenoff, invested the necessary time and energy to discover a resourceful way to do things in a more health conscious and effective manner.
•
Using a Safer Mordant Intaglio Etching on Aliminum and Zinc: article by Semenoff about safe and clean etchings.
•
Waterless Lithography Printmaking: great overview on tips and benefits of this type of printmaking.
•
Not Dying For Their Art: wonderful article about the hazards printmakers face, and how technology is producing healthy print alternatives.
•
Common Pollution Prevention Practices in Printing: outlines proper recycling, handling, and platemaking techniques to ensure a "green" printing process.
•
Printer Ink: the right type of printer ink means the right kind of safety.
•
Society of American Graphic Artists: links to other printmaking technology sites.
•
Printmaking Links: links to printmaking vendors, suppliers, organizations, and other resources.
Popular Searches