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Title: A Flower for Sydney, Original Waterless Lithograph, 22x30"
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}
Waterless lithography: waterbased images
Printmaking Series - Part 12 of 21
By Nik Semenoff
In traditional grease/water lithography, the use of water has been a problem to the commercial printing industry. Known as the fountain solution, it contained other chemicals to ensure the best balance of grease and water to produce best quality work. On the chemical level, both the grease and gum bonded to the surface used the same carboxyl radicals; this meant that any change to the chemistry on the surface could allow either to move into the others area. This meant the image might disappear or the image darkens to make the plate useless. What was needed was completely different chemical bonds to separate ink and rejecting background. If water could be eliminated, so much the better.
Toray, a Japanese company producing printing materials, finally developed a commercial plate that used silicone for the ink rejecting surface. The cost and availability of these plates are beyond the reach of most printmakers and were only occasionally used by them. In 1990 I started research into a less prohibitive method of making waterless litho available to printers. Having used ordinary silicone caulking for other unorthodox projects, I knew that it could be diluted with hydrocarbon solvents. This became the basis of my waterless process that is now used by many printmakers across the world. Because of the tenacity of the bond between silicon and aluminium, the plates produced are not as likely to become degraded as in the case of traditional lithography.
Using thin aluminium plates that have been scrubbed and treated with a weak alkali, the artist produces an image from any water soluble gum or glue bearing material. Solids are applied with brush or pen. Pencil drawings are best executed with Omnichrom 108-9 water soluble pencils. The printer prepares the silicone coating by diluting caulking compounds with odorless paint thinner. This is spread over the entire surface with a soft pad and buffed to a very thin film with facial tissue covering a foam pad. Depending on room temperature and humidity, the silicone will polymerize very fast in such a thin layer. In about 20 minutes the image can be removed with ordinary water, making the plate ready for printing.
Paul Constable
The best ink to use in my experience is Van Son Rubberbased Plus commercial offset ink. It is of very high quality and color saturation and has the proper characteristics to be rejected by the silicone on the plate surface. While I have developed a special roller to make printing easier, a good rubber roller of the right dimensions should work. The diameter should be under 4 inches as tinting may become a problem. Again room temperature comes into play as ink will become too loose when it gets warm and cannot be lifted from the silicone. There are additives that can be used to help in such cases.
So why change to waterless lithography if traditional methods have worked for over 200 years? The common chemicals used in traditional lithography may be toxic when practitioners use the more controllable processes borrowed from commercial printing. A complete procedure has been worked out for waterless lithography that reduces the use of dangerous materials to a minimum. As an added bonus, it allows the artist more freedom in producing the image and the printer less problems in completing the edition. Having practiced traditional methods since the middle 1950's until 1990, I find I have no need for them since developing my waterless process. I find it more versatile and forgiving.
________________________________________________
Copyright © 2004 Nik Semenoff
Nik Semenoff
Artist-in-residence
University of Saskatchewan
Visit Nik Semenoff's website at duke.usask.ca/~semenoff/ for more information.
There are no notices at this time.
Light Space & Time Online Art Gallery announces an art call for the..
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Fusion Art invites submissions for the 8th Annual Leaves & Petals art competition..
View notice
Visual Voice Fine Art presents 'SUMMER' June 20- July 16, 2022.
Open Monday, Wednesday,..
View notice
Calling for Calgary based artists. Become our hosting artists to gain exposure, income..
View notice
The Art of Zhen Shan Ren International Exhibition consists of works from internationally..
View notice
The paintings of Robert Crosby will be on display in the Joyner Gallery..
View notice
The Alberta Society of Artists is proud to present “Asian Roots Trio”, a..
View notice
The Alberta Society of Artists is proud to present “Meditation”, a solo show..
View notice
Gallery Ring announces the ARTISTS OF THE MONTH contest.
A RUBY, SAPPHIRE, EMERALD..
View notice
| Theme:
Summer of the soul, summer thunder, summer wine, summer fling, summer..
View notice
John Lennard is known for his vivid landscape paintings. A serene summer sunset,..
View notice
In this exhibition, Sara-Jeanne Bourget, Robin Gleason and Mark Johnsen explore the layers..
View notice
Applications are now open for our online exhibition “New Edition”- an investigation into..
View notice
Painters, sculptors, photographers, ceramic, glass, jewelry and textile artists are encouraged to APPLY..
View notice
The Niagara-on-the-Lake artist, Marilyn Cochrane, celebrates the natural world in a more encompassing..
View notice
Hello,
Looking for a skilled artisan able to repair our farming community's landmark. ..
View notice
Led by Luxun Academy of Fine Arts in collaboration with the Sino-Canada Alliance..
View notice
STILL WITH US:
Celebrating the artist Floyd Kuptana, 1964 -2021.
Works in stone, paint,..
View notice
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View notice
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We are calling for entries from artists who are:
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View notice
Looking for a job in the ARTS in Canada? We have thousands of..
View notice