Teacher and Printmaker

^{PROGRESSIVE TECHNOLOGIES FOR FINE ARTS PRINTMAKING}

Z*Acryl Etching System materials and techniques were developed by Mark Zaffron. Mark has invited anyone who has technical questions about any of the Z*Acryl materials or techniques (or anyone who simply wants to exchange ideas about printmaking) to contact him via e-mail at zacryl@sbcglobal.net

Mark Zaffron

MFA, San Francisco Art Institute. BFA, School of the Art Institute of Chicago
Director and Founder, The Center for Research, Art, Technology, & Education. Oakland, CA
Instructor, Academy of Art University. San Francisco, CA

Selected Visiting Artist Appointments:
School of the Art Institute of Chicago
Museo Nacional del Grabado. Buenos Aires, Argentina
The Cooper Union School of Art. New York
Northwestern University
Massachusetts College of Art
Galilee Intaglio Studio. Ashrat, Israel
University of California/Berkeley
Arizona State University
Corcoran School of Art
Indiana University at Bloomington

Selected Recent Exhibitions:
SFMOMA Artisits Gallery, San Francisco, CA
Crossman Gallery. University of Wisconsin.
Museum of Contemporary Art. Chicago, IL
Barret House Galleries, NY
George Krevsky Fine Arts. San Francisco, CA
KALA Art Institute. Berkeley, CA
National Print Exhibition. Plains Art Museum.

In 1993, I began to explore alternative approaches to intaglio printmaking. I wanted to find ways to eliminate hazardous and expensive materials in order to set up a home printshop where I could do some proofing. A primary concern was to find materials that would directly mirror the processes and results of traditional etching. Toward this end, I founded the Center for Research, Art, Technology, & Education in Oakland, California.

The CRATE is an artmaking, teaching and research studio dedicated to the continued advancement and practice of fine art printmaking.

What evolved were materials and techniques that worked so well that I began to introduce them to my classes, and then other printmakers, teachers, and educational programs. It became obvious that there was a great demand for what have become Z*Acryl Etching Systems, so in January 1995, through the CRATE I organized a company for their manufacture and distribution.

Although my background in industrial design, chemistry, and business was on a par (actually a bogey) with most artist's, the accomplishments of the Z*Acryl Etching System and the CRATE, are yet another example of what results from asking good questions of some very bright and generous people.

Many people seem interested in the details behind the development of Z*Acryl. So what follows is a lot of text. You have my permission to quit reading when you get bored--I did.

A not BRIEF enough HISTORY OF Z*ACRYL

In 1993, I saw a book written by Keith Howard (Safe Photoetching for Photographers and Artists), and later attended a workshop of his. Many of his pioneering ideas about safe intaglio inspired my investigation into developing acrylic polymer grounds, a vertical etchant receptacle, new materials for photoetching, and a bio-based ink solvent.

I developed the Hardground Emulsion and the Stop Out Resist over a period of two years with the assistance of polymer chemists at S.C. Johnson & Son, who supplied me with raw materials and unceasing technical support. I sought to produce an acrylic polymer emulsion that was not only safe, but more importantly, could perform as an ideal hardground. Furthermore, I wanted it to have the right viscosity so that it could be sprayed through an airbrush to act as an aquatint resist. What resulted exceeded all my expectations. The ground flow-coats smoothly and evenly onto the plate and is self-leveling. It is incredibly durable and allows for the finest linework. Better still, it washes off with ammonia and water or in a 10% bath of sodium carbonate (even safer). As an added bonus, the hardground is not stripped by the solvents one uses to remove etching ink. Thus, a plate may be etched and proofed with the ground still on. The ink can then be removed, and the plate returned to the etchant!

Perhaps its best feature is as a spray aquatint. It is by far the simplest and most controllable method. Students to whom I've introduced the process have produced perfect aquatints the first time out of the box (pun intended). It is quite fool-proof, and takes about 20 seconds to apply and 5 minutes to dry. No longer are rosin boxes, hotplates, or respirators needed.

The next challenge was to design a tank that could hold ferric chloride. Ferric is the safest etchant available. Its use makes the idea of a truly safe studio possible. Vertical tanks have been used for years to etch copper circuit boards. The first time I saw it adapted for printmaking was by Keith Howard (who had a design for a tank made by gluing sheets of plexiglass together). I set out to create a tank that would be leakproof and unbreakable. After a bit of research I settled on the idea of a centrifugally-molded polyethylene container. I then threw in every advantageous design feature I could think of.

In 1993, I began trying to create a photo-sensitive resist that would have some of the same features, and could be applied similarly to the Hardground Emulsion. Out of the blue, I called Dr. Gregory Weed, a research chemist at DuPont, who had written a paper on photopolymers. I wanted to see what was involved in developing a photopolymer. It became obvious after a (one-way) discussion about "free radical initiated high UV photopolymerization", that I wasn't about to invent a photopolymer any time soon. However, he recommended that I experiment with DRY PHOTOPOLYMER FILM, which is manufactured for the printed circuit industry. DuPont sent me a large sample of the film to experiment with. After a few weeks of trial and error, I found a simple and accessible means of laminating the film to an etching plate with equipment found in any print studio. Technically, the results were exceptional, the resolution excellent, and its versatility was stunning. As I began to introduce the film to other printmakers, techniques for using the films expanded rapidly. Now it is being used, quite literally throughout the world. It has revolutionized many printmakers' approach to photoetching.

The Magnetic Registration Template occurred to me when I was sent a photograph of my new niece along with a thin magnetic frame designed to be stuck to a refrigerator. After punching out the little square hole in the middle, it struck me that it could also stick to a metal press bed and hold a small plate in place. So in addition to my niece, a great solution to exact plate placement for multiple-plate printing was born. Soon after, I began working with a magnet maker to produce magnetized sheeting large enough to accommodate full sheets of printing paper. (The template had to be large so that its edges would not be embossed in the printing paper.) We designed a gloss white top that would instantly and completely wipe free of printing ink, and a magnetized material that would cut easily and precisely with a sharp blade. By laying the printing plate on the template and tracing its edges with a utility knife. An exact window is removed into which the plates are placed for printing. The magnetic sheet adheres securely to the press bed and will not stretch. By keeping the paper pinned beneath the roller, perfect registration results.

As mentioned previously, ferric chloride makes printmaking possible in many more places for many more artists. It etches copper without producing any fumes. As a result, studios or classrooms that are not equipped with external ventilation and exhaust systems (which are required with nitric acid) can be set up for etching.

In order to make a pre-mixed ferric solution more readily available, The CRATE began working with a chemical manufacturer. The Z*Acryl Copper Etchant is made from the highest, most soluble grade of ferric and mixed to ideal proportions for copper etching.

A note on copper plates. Many printmakers are a bit intimidated by the expense of copper plates as compared to zinc. In response we found a metal supplier to furnish our customers with superb 18-gauge plates. The plates are protected with a PVC film adhered to both sides. The PVC protects the face of the plate from scratches during shipping and handling and also acts as an etchant resist on the back side. This copper is nearly mirror polished, and is far cleaner--and less expensive--than the "economy copper" available anywhere else.

In February, 1997, I read an article in Desktop Publishers Journal on laser imaged polyester litho plates. They were manufactured for the offset commercial printing industry and allow digitally imaged plates to be taken directly from the laser printer to the press. As usual, I was interested in the applicability of this technology to fine art printmaking. I began experimenting with the plates and was impressed by their safety, ease of use ,and their printing quality. However, I was somewhat dissatisfied when working on them with traditional lithographic drawing processes. Working independantly, Prof. George Roberts at the University of Idaho developed a number of drawing methods that I believe has extended the versatility and artistic potential of these plates.

2005, saw the development of an extraordinary ink solvent. I did some research on non-toxic industrial degreaser and cleaning agents. After a good deal of experimention, I found that a combination of the distillates of soy, corn, and citrus products, produced the most effective ink solvent I have ever used. Despite being non-polluting, non-carcinogenic and 100% bio-degradable, it is vastly more powerful than petroleum-based cleaners.

So, that's the story of Z*Acryl. I hope all of those that have actually made it to the end of this epic are curious to try these materials. I think that you will find that they are not simply the substitution of one set of etching tools for another, but are instead, an opportunity for a more wide-ranging creative engagement with this extraordinary medium.




			^{PROGRESSIVE TECHNOLOGIES FOR FINE ARTS PRINTMAKING}
		ZAcryl Etching System materials and techniques were developed by Mark Zaffron. Mark has invited anyone who has technical questions about any of the ZAcryl materials or techniques (or anyone who simply wants to exchange ideas about printmaking) to contact him via e-mail at zacryl@sbcglobal.net Mark Zaffron MFA, San Francisco Art Institute. BFA, School of the Art Institute of Chicago Director and Founder, The Center for Research, Art, Technology, & Education. Oakland, CA Instructor, Academy of Art University. San Francisco, CA Selected Visiting Artist Appointments: School of the Art Institute of Chicago Museo Nacional del Grabado. Buenos Aires, Argentina The Cooper Union School of Art. New York Northwestern University Massachusetts College of Art Galilee Intaglio Studio. Ashrat, Israel University of California/Berkeley Arizona State University Corcoran School of Art Indiana University at Bloomington Selected Recent Exhibitions: SFMOMA Artisits Gallery, San Francisco, CA Crossman Gallery. University of Wisconsin. Museum of Contemporary Art. Chicago, IL Barret House Galleries, NY George Krevsky Fine Arts. San Francisco, CA KALA Art Institute. Berkeley, CA National Print Exhibition. Plains Art Museum. In 1993, I began to explore alternative approaches to intaglio printmaking. I wanted to find ways to eliminate hazardous and expensive materials in order to set up a home printshop where I could do some proofing. A primary concern was to find materials that would directly mirror the processes and results of traditional etching. Toward this end, I founded the Center for Research, Art, Technology, & Education in Oakland, California. The CRATE is an artmaking, teaching and research studio dedicated to the continued advancement and practice of fine art printmaking. What evolved were materials and techniques that worked so well that I began to introduce them to my classes, and then other printmakers, teachers, and educational programs. It became obvious that there was a great demand for what have become ZAcryl Etching Systems, so in January 1995, through the CRATE I organized a company for their manufacture and distribution. Although my background in industrial design, chemistry, and business was on a par (actually a bogey) with most artist's, the accomplishments of the ZAcryl Etching System and the CRATE, are yet another example of what results from asking good questions of some very bright and generous people. Many people seem interested in the details behind the development of ZAcryl. So what follows is a lot of text. You have my permission to quit reading when you get bored--I did. A not BRIEF enough HISTORY OF ZACRYL** In 1993, I saw a book written by Keith Howard (Safe Photoetching for Photographers and Artists), and later attended a workshop of his. Many of his pioneering ideas about safe intaglio inspired my investigation into developing acrylic polymer grounds, a vertical etchant receptacle, new materials for photoetching, and a bio-based ink solvent. I developed the Hardground Emulsion and the Stop Out Resist over a period of two years with the assistance of polymer chemists at S.C. Johnson & Son, who supplied me with raw materials and unceasing technical support. I sought to produce an acrylic polymer emulsion that was not only safe, but more importantly, could perform as an ideal hardground. Furthermore, I wanted it to have the right viscosity so that it could be sprayed through an airbrush to act as an aquatint resist. What resulted exceeded all my expectations. The ground flow-coats smoothly and evenly onto the plate and is self-leveling. It is incredibly durable and allows for the finest linework. Better still, it washes off with ammonia and water or in a 10% bath of sodium carbonate (even safer). As an added bonus, the hardground is not stripped by the solvents one uses to remove etching ink. Thus, a plate may be etched and proofed with the ground still on. The ink can then be removed, and the plate returned to the etchant! Perhaps its best feature is as a spray aquatint. It is by far the simplest and most controllable method. Students to whom I've introduced the process have produced perfect aquatints the first time out of the box (pun intended). It is quite fool-proof, and takes about 20 seconds to apply and 5 minutes to dry. No longer are rosin boxes, hotplates, or respirators needed. The next challenge was to design a tank that could hold ferric chloride. Ferric is the safest etchant available. Its use makes the idea of a truly safe studio possible. Vertical tanks have been used for years to etch copper circuit boards. The first time I saw it adapted for printmaking was by Keith Howard (who had a design for a tank made by gluing sheets of plexiglass together). I set out to create a tank that would be leakproof and unbreakable. After a bit of research I settled on the idea of a centrifugally-molded polyethylene container. I then threw in every advantageous design feature I could think of. In 1993, I began trying to create a photo-sensitive resist that would have some of the same features, and could be applied similarly to the Hardground Emulsion. Out of the blue, I called Dr. Gregory Weed, a research chemist at DuPont, who had written a paper on photopolymers. I wanted to see what was involved in developing a photopolymer. It became obvious after a (one-way) discussion about "free radical initiated high UV photopolymerization", that I wasn't about to invent a photopolymer any time soon. However, he recommended that I experiment with DRY PHOTOPOLYMER FILM, which is manufactured for the printed circuit industry. DuPont sent me a large sample of the film to experiment with. After a few weeks of trial and error, I found a simple and accessible means of laminating the film to an etching plate with equipment found in any print studio. Technically, the results were exceptional, the resolution excellent, and its versatility was stunning. As I began to introduce the film to other printmakers, techniques for using the films expanded rapidly. Now it is being used, quite literally throughout the world. It has revolutionized many printmakers' approach to photoetching. The Magnetic Registration Template occurred to me when I was sent a photograph of my new niece along with a thin magnetic frame designed to be stuck to a refrigerator. After punching out the little square hole in the middle, it struck me that it could also stick to a metal press bed and hold a small plate in place. So in addition to my niece, a great solution to exact plate placement for multiple-plate printing was born. Soon after, I began working with a magnet maker to produce magnetized sheeting large enough to accommodate full sheets of printing paper. (The template had to be large so that its edges would not be embossed in the printing paper.) We designed a gloss white top that would instantly and completely wipe free of printing ink, and a magnetized material that would cut easily and precisely with a sharp blade. By laying the printing plate on the template and tracing its edges with a utility knife. An exact window is removed into which the plates are placed for printing. The magnetic sheet adheres securely to the press bed and will not stretch. By keeping the paper pinned beneath the roller, perfect registration results. As mentioned previously, ferric chloride makes printmaking possible in many more places for many more artists. It etches copper without producing any fumes. As a result, studios or classrooms that are not equipped with external ventilation and exhaust systems (which are required with nitric acid) can be set up for etching. In order to make a pre-mixed ferric solution more readily available, The CRATE began working with a chemical manufacturer. The ZAcryl Copper Etchant is made from the highest, most soluble grade of ferric and mixed to ideal proportions for copper etching. A note on copper plates. Many printmakers are a bit intimidated by the expense of copper plates as compared to zinc. In response we found a metal supplier to furnish our customers with superb 18-gauge plates. The plates are protected with a PVC film adhered to both sides. The PVC protects the face of the plate from scratches during shipping and handling and also acts as an etchant resist on the back side. This copper is nearly mirror polished, and is far cleaner--and less expensive--than the "economy copper" available anywhere else. In February, 1997, I read an article in Desktop Publishers Journal on laser imaged polyester litho plates. They were manufactured for the offset commercial printing industry and allow digitally imaged plates to be taken directly from the laser printer to the press. As usual, I was interested in the applicability of this technology to fine art printmaking. I began experimenting with the plates and was impressed by their safety, ease of use ,and their printing quality. However, I was somewhat dissatisfied when working on them with traditional lithographic drawing processes. Working independantly, Prof. George Roberts at the University of Idaho developed a number of drawing methods that I believe has extended the versatility and artistic potential of these plates. 2005, saw the development of an extraordinary ink solvent. I did some research on non-toxic industrial degreaser and cleaning agents. After a good deal of experimention, I found that a combination of the distillates of soy, corn, and citrus products, produced the most effective ink solvent I have ever used. Despite being non-polluting, non-carcinogenic and 100% bio-degradable, it is vastly more powerful than petroleum-based cleaners. So, that's the story of ZAcryl. I hope all of those that have actually made it to the end of this epic are curious to try these materials. I think that you will find that they are not simply the substitution of one set of etching tools for another, but are instead, an opportunity for a more wide-ranging creative engagement with this extraordinary medium.