RESEARCH in NON-TOXIC and SUSTAINABLE METHODS of FINE ART PRINTMAKING
In visual arts, artists have lost their health, even died, as a result of using harmful materials during the process of creating their art works (Adam and Robertson 2007; Graver, 2008). This is particularly true in the field of fine art printmaking where there is a long history of using hazardous art materials. In my research, effort is made to analyse both traditionally applied methods in fine arts and non-toxic methods in relation to health and the environment, and to establish to what degree methods categorized as ‘non-toxic’ are truly ‘safer’. The research aims to explore and find improved solutions in visual arts both on an individual level and in a broad educational context. It is important that practicing your art will not be hazardous to your life, nor to the environment. Artists as well as educators of art need to be aware of on-going research in their field and to acquire the knowledge of how to use safe methods and materials when working as artists and/or teaching the fine arts.
WHAT IS FINE ART PRINTMAKING
A print is traditionally made from a matrix, made of wood, metal or stone, which then is printed onto another surface, most often paper. In brief, fine art printmaking is a general term covering variable ways of producing prints. The main categories of fine art printmaking are: relief (e.g. wood- and linoleum cuts), planographic (e.g. monographs, lithographs, silkscreen), and intaglio (e.g. etchings, aquatints). The different categories refer to which part of the matrix is being printed, i.e., relief = the top, planographic = the flat, or intaglio = the engraved part of the printing plate. The matrix is created by incising, painting, drawing, and/or chemically processing the printing plate. Printing ink is applied to the matrix and the plate is printed by hand or in a printing press onto the paper. Several attempts may be needed until a satisfactory result is achieved. For a more complex print, several plates may be used for the same print and the paper may be run multiple times through the press to achieve the final result.
It is during these various steps needed in the creation of the matrix and while printing the printing plates, that the artists, teachers and students may be exposed to dangerous materials.The issue is of great concern as the variety of illnesses that can result from exposure to toxic materials, are severe. They can range from mild allergies to serious lung, kidney, liver and neurological diseases, cancer, and other illnesses that may seriously disable the persons exposed, or even lead to death (Fields, 1997). In addition, disposal of these materials in an unsafe manner can be devastating to the environment. To give an example: “…one gallon of oil can contaminate a million gallons of water” (Minnesota Pollution Control Agency) – or: one drop of solvent may contaminate million drops of water! Awareness and knowledge in the use of materials is therefore crucial.
AIMS and OBJECTIVES
The aim of this research is to raise awareness regarding materials, methods, and studio environment in fine art institutions, among educators of fine arts, students of visual arts, artists and people interested in making art, in order to help them protect both their own and others’ health as well as the environment. This is fundamental, regardless of the educational or professional level people are at. The objectives are to investigate/demonstrate what kind of materials in fine art printmaking are being and can be used and to develop new ways of working that are acceptable both technically, aesthetically, health wise, and environmentally. In today’s world where the earth is becoming more polluted and problems are arising from pollution at all levels, it is important that each person takes responsibility for the consequences of materials that are disposed of into nature or evaporate into the atmosphere.
The first step is to know, the second is to act on it, and the third is to change our way of working so that we may protect ourselves and the environment. For this reason I have established the virtual platform www.via-art.com where information on the research and related issues will be updated regularly.
Valgerður Hauksdóttir
References
Adam, Roberts and Robertson, Carol (2007). Intaglio, The Complete Safety-First System for Creative Printmaking. London: Thames & Hudson Ltd.
Graver, Mark (2008). Non-Toxic Printmaking. London: A & C Black.
Fields, Scott (1997, March). Exposing Ourselves to Art, US Government Magazine, Environmental Health Perspectives, Volume 105, Number 3.
Minnesota Pollution Control Agency: