Dan Welden's Solarplate Printing
Step One – Prepare ARTWORK
Artwork may be created with liquid opaque paint or ink, light-stopping making devices, rubylith films, lithographic crayons and certain black pencils (Stabilo 8046), or found objects. Photographic images can be created on transparent acetate, mylar, or compatible film for your inkjet or laser printer or photo copier. Glass surfaces are also very suitable, however plexi tends to resist UV light and is unpredictable. . This “transparency” is used as a contact positive or negative for either intaglio or relief. Artwork can be created by hand drawing, computer printout, or with photographic methods.
Step Two – Expose plate to UV light
When exposing with the sun, set up your Solarplate indoors, and away from direct sunlight. If the artworks contains large areas of black, subtle grays, or is photographic, it is advisable to use the aquatint screen and do the “Double Exposure Technique.”
Before exposing make certain to REMOVE THE PLASTIC COVER SHEET FROM THE SOLAR PLATE.
Place the Aquatint Screen, emulsion (matt side) face down, in direct contact with the plate. Sandwich the plate and screen between thick plate glass and a foam cushion on a flat, rigid board. Clamp the entire unit together in the center and expose it to the sun perpendicular to the rays. Best results are achieved at noontime in strong sunlight, an average time would be 45 seconds for the northeast United States summertime. I would try to leave it for a few minutes, because we do not have the aquiant screens to do the first exposure with.
NOTE: The darker or more dense the transparency—the longer the exposure; The lighter or more delicate the transparency—the shorter the exposure.
Step Three – Rinse plate in water WASH OUT
The washout process, cool water is use. Gently, scrub the entire image with a soft brush for about two minutes. or longer for a single exposure (without the screen), or 5-10 minutes for a relief plate. During the washout, the image will be removed from the surface, creating an intaglio surface. You can control the washing time and stop at any desired moment. After completing the washout, quickly blot with newsprint or phone book pages.
Step Four – Harden plate POST EXPOSE
Post Expose the plate for 5-10 minutes; longer post exposure will not harm the image.
Step Five – Filing the plate
Before inking, eliminate the sharp corners of the plate with a file and remove the burr from the steel backing.
Step Six – Print plate PRINTING
Printing may be done in either relief or intaglio. Plate thickness is less than standard zinc or copper and presses should be adjusted accordingly. Although hand printing may be accomplished by traditional rubbing techniques, a press is more desirable for ease, consistency and quality. Any quality printmaking paper may be used.
Artwork may be created with liquid opaque paint or ink, light-stopping making devices, rubylith films, lithographic crayons and certain black pencils (Stabilo 8046), or found objects. Photographic images can be created on transparent acetate, mylar, or compatible film for your inkjet or laser printer or photo copier. Glass surfaces are also very suitable, however plexi tends to resist UV light and is unpredictable. . This “transparency” is used as a contact positive or negative for either intaglio or relief. Artwork can be created by hand drawing, computer printout, or with photographic methods.
Step Two – Expose plate to UV light
When exposing with the sun, set up your Solarplate indoors, and away from direct sunlight. If the artworks contains large areas of black, subtle grays, or is photographic, it is advisable to use the aquatint screen and do the “Double Exposure Technique.”
Before exposing make certain to REMOVE THE PLASTIC COVER SHEET FROM THE SOLAR PLATE.
Place the Aquatint Screen, emulsion (matt side) face down, in direct contact with the plate. Sandwich the plate and screen between thick plate glass and a foam cushion on a flat, rigid board. Clamp the entire unit together in the center and expose it to the sun perpendicular to the rays. Best results are achieved at noontime in strong sunlight, an average time would be 45 seconds for the northeast United States summertime. I would try to leave it for a few minutes, because we do not have the aquiant screens to do the first exposure with.
NOTE: The darker or more dense the transparency—the longer the exposure; The lighter or more delicate the transparency—the shorter the exposure.
Step Three – Rinse plate in water WASH OUT
The washout process, cool water is use. Gently, scrub the entire image with a soft brush for about two minutes. or longer for a single exposure (without the screen), or 5-10 minutes for a relief plate. During the washout, the image will be removed from the surface, creating an intaglio surface. You can control the washing time and stop at any desired moment. After completing the washout, quickly blot with newsprint or phone book pages.
Step Four – Harden plate POST EXPOSE
Post Expose the plate for 5-10 minutes; longer post exposure will not harm the image.
Step Five – Filing the plate
Before inking, eliminate the sharp corners of the plate with a file and remove the burr from the steel backing.
Step Six – Print plate PRINTING
Printing may be done in either relief or intaglio. Plate thickness is less than standard zinc or copper and presses should be adjusted accordingly. Although hand printing may be accomplished by traditional rubbing techniques, a press is more desirable for ease, consistency and quality. Any quality printmaking paper may be used.
What is Solarplate?
A. Solarplate is a light sensitized steel backed polymer material used by artists as an alternative to hazardous printing techniques. It is a simple, safer, and faster approach than traditional etching and relief printing.
How does it work?
A. It does not use grounds, acids or solvents. It is exposed with U.V. light (The Sun) and developed with ordinary tap water.
How is it done?
A. It may be done by working on the plate directly, with opaque materials in the form of non-water based pigments, or… it may be utilized by exposing the plate through a transparent film with artwork on it. The film may be created by drawing on acetate, photocopying or scanning and printing on film, or darkroom techniques with Kodalith. A positive transparency is for printing as an etching; A negative transparency is for printing a relief impression.
What etches the plate?
A. Water disolves the unexposed portions of the plate. Either in large bold areas or tonal ranges equivalent to a 40 micron dot or finer.
Who uses Solarplates?
A. Artists/Printmakers, and photographers wishing to create multiple impressions of their work on quality papers. Students ranging from elementary level through college as well as professional artists. Solarplate impressions have reached the level of being exhibited in New York’s Metropolitan Museum of Art.
How is the plate exposed?
A. Exposure is done by placing the transparency in contact with the plate (see diagram at the top of this page) and exposing it to the sun or placing the transparency in contact with the plate in a UV exposure box.
How long should a plate be exposed?
A. Always test first…use a small plate or end cut. Exposure units vary with intensity and distance away from the light source….the sun will vary as to the time of day, season of the year, and the geographic location of the exposing source. A typical photocopy in New York at noon time in the early fall may be about 2 minutes. There is a pretty wide latitude of exposure time and is not critical for the single exposure.
How long have people been using Solarplates?
A. Since Dan Welden’s development of the process in the 70’s.
How easy is it to teach?
A. Many schools, universities, art schools throughout the world, as well as independent artist teachers offer workshops. Many are replacing traditional acid techniques with Solarplates due to health and safety regulations. Due to its diversity and photgraphic nature, highest quality results are obtained more easily and faster than any other printmaking technique.
How safe is the Solarplate?
A. Safety test results reveal that SOLARPLATE causes no harm to the human body when used under normal conditions, however, the user should work in a well ventilated area to reduce any odor concentration. People with hypersensitive skin are recommended to wear gloves.
A. Solarplate is a light sensitized steel backed polymer material used by artists as an alternative to hazardous printing techniques. It is a simple, safer, and faster approach than traditional etching and relief printing.
How does it work?
A. It does not use grounds, acids or solvents. It is exposed with U.V. light (The Sun) and developed with ordinary tap water.
How is it done?
A. It may be done by working on the plate directly, with opaque materials in the form of non-water based pigments, or… it may be utilized by exposing the plate through a transparent film with artwork on it. The film may be created by drawing on acetate, photocopying or scanning and printing on film, or darkroom techniques with Kodalith. A positive transparency is for printing as an etching; A negative transparency is for printing a relief impression.
What etches the plate?
A. Water disolves the unexposed portions of the plate. Either in large bold areas or tonal ranges equivalent to a 40 micron dot or finer.
Who uses Solarplates?
A. Artists/Printmakers, and photographers wishing to create multiple impressions of their work on quality papers. Students ranging from elementary level through college as well as professional artists. Solarplate impressions have reached the level of being exhibited in New York’s Metropolitan Museum of Art.
How is the plate exposed?
A. Exposure is done by placing the transparency in contact with the plate (see diagram at the top of this page) and exposing it to the sun or placing the transparency in contact with the plate in a UV exposure box.
How long should a plate be exposed?
A. Always test first…use a small plate or end cut. Exposure units vary with intensity and distance away from the light source….the sun will vary as to the time of day, season of the year, and the geographic location of the exposing source. A typical photocopy in New York at noon time in the early fall may be about 2 minutes. There is a pretty wide latitude of exposure time and is not critical for the single exposure.
How long have people been using Solarplates?
A. Since Dan Welden’s development of the process in the 70’s.
How easy is it to teach?
A. Many schools, universities, art schools throughout the world, as well as independent artist teachers offer workshops. Many are replacing traditional acid techniques with Solarplates due to health and safety regulations. Due to its diversity and photgraphic nature, highest quality results are obtained more easily and faster than any other printmaking technique.
How safe is the Solarplate?
A. Safety test results reveal that SOLARPLATE causes no harm to the human body when used under normal conditions, however, the user should work in a well ventilated area to reduce any odor concentration. People with hypersensitive skin are recommended to wear gloves.
An example of the reverse method to etch the plate (Embossing).
By inking the plate, before exposing it to the light
1.Using wooden sticks, cotton swabs...
I started taking some of the ink away
to make my drawing...
2. Here's basic drawing
3. My daughter adding her magic touch!
4. a sneak peak to her wonderful mark making!!
5. The finished drawing was exposed to the UV light
and the whole process described above is repeated
until we got the finished embossed plate.
6. The plate was placed on the press bed...
7. ...and here's our little collaborative project result!!
By inking the plate, before exposing it to the light
1.Using wooden sticks, cotton swabs...
I started taking some of the ink away
to make my drawing...
2. Here's basic drawing
3. My daughter adding her magic touch!
4. a sneak peak to her wonderful mark making!!
5. The finished drawing was exposed to the UV light
and the whole process described above is repeated
until we got the finished embossed plate.
6. The plate was placed on the press bed...
7. ...and here's our little collaborative project result!!
Essential Questions:
- What do you observe in these works? What details, shapes, lines and textures?
- How do you assumer, were each of these works created?
- What techniques were used to create the various effects?
- What do you observe in these works? What details, shapes, lines and textures?
- How do you assumer, were each of these works created?
- What techniques were used to create the various effects?
Your job =)
- Decide which technique you would like to use to create your solarprint. A relief print or an embossed print
- Create your drawings or photographs based on Poetry, literature or political/social commentary. I need to see a well worked out idea before you begin to sketch your final.
- scan your image and I will print it out onto a transparency. (if creating a relief print)
- Decide which technique you would like to use to create your solarprint. A relief print or an embossed print
- Create your drawings or photographs based on Poetry, literature or political/social commentary. I need to see a well worked out idea before you begin to sketch your final.
- scan your image and I will print it out onto a transparency. (if creating a relief print)