Non-toxic printmaking / Mark Graver.

by Graver, MarkLooking glass.

Series: Printmaking handbooks: Publisher: London : A&C Black, 2011.Description: 127 pages : illustrations (some colour) ; 24 cm.ISBN: 1408113252; 9781408113257.Subject(s): Prints -- TechniqueLooking glassNote: Bibliography: page127. - Includes index.
Item type Home library Collection Class number Status Date due Barcode Item reservations
Long loan Camberwell College of Arts
Main collection
Printed books 763 GRA (Browse shelf (Opens below)) Issued 29/11/2021 54012559
Long loan London College of Communication
Main collection
Printed books 760 GRA (Browse shelf (Opens below)) Available 54127253
Total reservations: 0

Enhanced descriptions from Syndetics:

In this book, Mark Graver puts the case for non-toxic printmaking and
then discusses the various technical factors (both materials and
equipment) to consider when etching with acrylic resists,
making aquatints, etching in general, using drypoint, engraving, making
mezzotints and collagraphs and using photopolymers as well as combining
various printmaking techniques. There is also information on
various inks and health and safety measures in the printing
workshop. All in all, this book contains everything you need to know to clean up your printmaking practice.

Bibliography: page127. - Includes index.

Table of contents provided by Syndetics

  • Acknowledgements (p. 6)
  • Introduction (p. 7)
  • Why non-toxic?
  • Materials (p. 16)
  • Metals
  • 1 Acrylic Resist Etching on Copper (p. 19)
  • Plate preparation
  • 2 Acrylic-Resist Hard Grounds (p. 22)
  • Liquid hard ground - floor polish
  • Lascaux hard resist
  • Z*Acryl Hardground Emulsion
  • Roll-on hard ground/soft ground
  • Spray-on hard grounds
  • 3 Acrylic Soft Grounds (p. 29)
  • Types of soft ground
  • Orono soft ground
  • Lascaux soft resist
  • Working with soft grounds
  • 4 Acrylic-Resist Aquatint (p. 36)
  • Materials for acrylic-resist aquatint
  • Alternative aquatints
  • Potential problems with acrylic
  • aquatints
  • 5 Wash Grounds, Lift Grounds, White Ground (p. 46)
  • Wash grounds
  • Lift grounds
  • White ground
  • Experimental resists
  • 6 Etching Copper With Ferric Chloride (p. 58)
  • Ferric chloride
  • The Edinburgh Etch
  • Stop-out resists
  • Etching aquatints
  • Reworking plates
  • Removing acrylic resists
  • Etching brass
  • 7 Saline Sulphate Etch (p. 71)
  • Aluminium, steel and zinc
  • Mixing the mordant
  • Aluminium
  • Zinc
  • Steel
  • Zincalume®
  • Removing resists
  • Refreshing the solution
  • Cupric chloride
  • Galv-Etch
  • 8 Inks, Inking, Paper and Printing (p. 85)
  • Water-based inks
  • Inking and wiping
  • Paper
  • Printing
  • 9 Colour, Chine-Collé and Multi-Plate Printing (p. 98)
  • Techniques for monoprints
  • Chine-collé
  • Multi-plate printing
  • 10 Non-Chemical Processes (p. 105)
  • Engraving
  • Criblé
  • Bamboo engraving
  • Drypoint
  • Mezzotint
  • Collagraph
  • Photographic processes
  • Digital printmaking
  • 11 A Survey: Is Printmaking Going Green?
  • Indrani Gall (p. 117)
  • 12 Conclusion (p. 118)
  • Appendix 1 Some thoughts on non-toxic printmaking (p. 119)
  • Appendix 2 Original prints and reproductions - a need for definition (p. 123)
  • Featured Artists (p. 125)
  • Suppliers (p. 126)
  • Website Resources (p. 127)
  • Bibliography (p. 127)
  • Index (p. 128)

Author notes provided by Syndetics

Mark Graver is a professional artist and qualified art teacher living and working in New Zealand. He has an MA in Printmaking from Camberwell College of Arts, London and exhibits his work internationally. He runs the Wharepuke Print Studio, where he offers non-toxic printmaking courses to beginners and professional artists.

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