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The workshop of 12-16th May 2003 was a great succes. We will repeat the workshop in the future. People who are interested to join can add their name to a list (see bottom page). They do not subscribe to the workshop yet but only show that threy are interested. As soon as their is enough interest, a planning is made for the next workshop.
The Workshop will be held at the Printmaking Studio next to Polymetaal, at Evertsenstraat 69C, Leiden. The participants will have at their disposal printmaking equipment and material (etching presses, exposure units, etc) to use and experiment with during the Workshop. The Workshop will be held in the English language.
Click here to see some pictures of the 2003 workshop in Leiden.
Henrik Boegh is well known in the world of Non-Toxic Printmaking. He is the owner of the Grafisk Eksperimentarium in Copenhagen Denmark. He made video's and various publications about this subject.
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Participation;
The cost per participant is Euro 275,-- (exclusive 19% VAT) (five days). If you decide to join less than five days you will pay proportionally. Address where the workshop takes place; Polymetaal, Evertsenstraat 69C, 2315 SK Leiden. e-mail; info@polymetaal.nl, telephone +31.71.5222681, fax +31.71.5214244.;
The maximum number of participants is 15.
The materials you will need during the workshop are included in the price. (paper, ink, film, acids, etc.)
Referencies:
Some participants (with e-mail) of the 12-16th may workshop, who
are happy to share their opinion about the workshop;
Wouter Ferro (Holland), Juan
Francisco Casas Ruiz (Spain), Diane
Jodes (Luxemburg), Agnelo
Vieira (Portugal), Ad van
Bokhoven (Holland), Miguel
Coelho (Portugal), Anna
Kurtycz (France), Ruud
van der Helm (France), Gerard van
Velzen (Holland), Jan
Nieuwenhuysen (Holland), Michael
Klingenstein (Germany).
Program;
Acrylic Resists + Photopolymerfilm
This five-day course teaches "Non Toxic" hard ground, soft ground, aquatint, lift ground, washings and photopolymerfilm as well as possible combinations of the above.
The first 2 days will be a demonstration of the different techniques in the acrylic resist etching system as well as the different techniques of using photopolymer film.
During the following three days the participants will get the possibility to become familiarised with the different techniques and hence be able to make in-depth experiments with personal favourites working on their own.
Day 1
-Hard Grounds: |
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Liquid Hard Ground : |
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As hard ground for etching we use an acrylic floor polish. This hard ground is extremely strong, and the plate can be wiped and printed while the hard ground is still on. You can work in the hard ground in exactly the same way as in the conventional hard ground. But you also have the option of doing washings in the hard ground with a mild solution of ammonia and water. |
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Roll on Hard Ground: |
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The etching ground consists of a water-based ink (block print) mixed with an acrylic binder. This ground can be brought onto the plate with a roller. It will be a Hard-Ground when hardened in a drying cabinet for 20 minutes. |
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-Soft Grounds |
Roll on Soft Ground: |
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The etching ground consists of a water-based ink (block print) mixed with an acrylic binder. This ground can be brought onto the plate with a roller. It can be used as a soft ground when left to dry at room temperature for about 10-15 minutes. Soft Ground can be used for "Draw-Through" techniques ("Vernis mou") or for printing objects by Soft Ground Impressions. |
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-Spray on Aquatint |
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The aquatint is sprayed onto the plate with an airbrush. The medium brought onto the plate is also an acrylic substance. The acrylic particles will adhere to the plate in a similar way as the resin particles on the "traditional" aquatint. The aquatint can be sprayed on evenly, and etched and stopped out by turns like a traditional aquatint. The airbrush can also be employed in the creative process: you can draw ans paint with it, or spray it on in layers of varying thickness. The main rule is that the thicker the layer; the lighter the shade of the final print in these areas. |
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-Direct Washings (as an acrylic resist) |
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The water-based block print ink, which we used for rolled-on soft and hard ground, also comes in a black version. It is coarser and contains more pigment. The ink can be rolled on like a roll-on hard ground, and washes can be done directly with a brush in the wet rolled-on ink. Before etching the ground must be hardened in a drying cabinet. It is interesting to note that the ground will slowly break down after two or three hours of etching. This happens because the ground does not contain an acrylic binder. This way you can obtain the most beautiful structures. |
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-Etching: |
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In a vertical Tank with Ferric Chloride: |
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A vertical tank requires less space in the workshop and speeds up the etching process compared to etching horizontally. An aeration is advised to obtain a circulation in the tank. This circulation avoids the build-up of sediment on the plate. |
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Etching in a horizontal tray with Ferric Chloride, "Edinburgh Etch": |
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Dissolve citric acid powder in warm water and add the ferric chloride. The citric acid ensures a fast and accurate etching and also prevents the ferric chloride from crystalising during the process. This renders it unnecessary to sweep away crystals during the etching - you can simply leave the plate with the art work facing upwards. This etching technique was developed by the printmaker Friedhard Kiekeben in Edinburgh. |
Day 2
-The line drawing: |
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A line drawing is made on a transparent film. This drawing serves as a stencil and is transferred onto a photopolymer layer. The stencil is put on top of the photopolymer layer and is exposed to UV-light. The exposed photopolymer will harden out, and cannot be washed out with the water-soda solution. The (unexposed) lines can be washed out. The washed out lines will contain ink during printing and will therefore give a reproduction of the original line-drawing. A line drawing can be generated in many ways. |
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-The washing: |
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A washing is made on a transparent film. A washing is made by a liquid containing black pigment. This liquid is painted onto the "stencil" with a brush. The washing consists of gray tones. We shall therefore have to expose aquatint grains into the photopolymer film. They are to bind the etching ink in the black and gray areas so that we can avoid an open bite. A washing can be made with toner (copy-machine), tusch, guache, crayon, etc. |
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-Photocopies: |
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A stencil can also be made by photocopying an image onto a transparent stencil. An aquatint screen with be needed if the copy contains grey tones or wide lines, which might later result otherwise in an open bite. |
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-Computer generated stencils: |
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A computer can be used to create images. These images can be printed onto a stencil. For this purpose a PC will be used during the workshop and "Photoshop" . Participants can bring their own images on a floppy disk or CD-rom, to be worked during the workshop. |
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-Special techniques: |
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Layered Photopolymer films: |
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Films of photopolymer can be exposed or worked individually. This creates many creative possibilities if those films are brought as different layers on the same plate. |
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Photocopy toner transfer: |
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A technique to transfer the toner from a photo copy to the polymer layer. |
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-Photopolymer film as an etching resist: |
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All the photopolymer techniques as described above are
"non-etch" techniques. This means that the plate (copper
or zinc) only serves as a support for the film. The film
is exposed, the washed out parts in the photopolymer film
will contain ink and print. Nothing happens to the
support plate. |
3rd. Day
4th and 5th Day
During the workshop we will also pay attention to the new "water-based" Akua-Intaglio inks. These inks are a relief for printmakers since these inks can be removed with soap and water. Click on Akua-Intaglio inks for user's instructions.
We begin in the morning at 9 o'clock and stop at about 6 o'clock in the afternoon. If the participants prefer an afternoon break is possible. Polymetaal will take care of coffee and tea.
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Click the field below if you want to add your name to a
list of interested people in joining the next workshop. Your
name and e-mail address will be visible for other visitors
of this site. |
Click the field below if you prefer to show your interest in joining via an e-mail, or if you like to have more information. |
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Polymetaal
Hugo Bos.