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  • Call for Art - 9th Annual

    Location: Palm Springs, CA

    Light Space & Time Online Art Gallery announces an art call for the..
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  • 5th Annual Leaves & Petals Art Competition

    Location: Palm Springs, CA

    Fusion Art invites submissions for the 5th Annual Leaves & Petals online art..
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  • Exaltation : Intangible Journeys of the Human Spirit: Nikola Wojewoda

    Location: Niagara on the lake, ON

    The Niagara Pumphouse Arts Centre presents Exaltation : Intangible Journeys of the Human..
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  • HUB @ 302

    Location: CALGARY, AB

    The Alberta Society of Artists invites all juried members, associate and non-members to..
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  • Open Call for 2020 exhibitions

    Location: Vernon, BC

    We are an artist run gallery seeking submissions from emerging artists for our..
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  • Beacon Original Art Fall Show & Sale

    Location: Calgary, AB

    Saturday October 19, 2019 from 10am - 4pm. Featuring more than 30 artists..
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  • Open Call:

    Location: Vancouver, BC

    The Federation of Canadian Artists (FCA) is having an open exhibition for members..
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  • Open Call: All 10

    Location: Vancouver, BC

    Calling all Canadian Artists! This is an open submission call for a lightly..
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  • Earth

    Location: CALGARY, AB

    The Alberta Society of Artists invites all Juried, Life, Student, Associate Members and..
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  • Reza Rezaï / Mehmoon

    Location: Calgary, AB

    TRUCK Contemporary Art is pleased to present Mehmoon by Reza Rezaï. Through the..
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  • Outside, In

    Location: Lethbridge, AB

    Opening reception September 28th 7-9pm for the Allied Art Council's Gallery Stroll! OUTSIDE,..
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  • National Oil and Acrylic Painters Society 2019 Fall Online International Exhibition

    Location: Windsor, ON

    The National Oil & Acrylic Painters’ Society (NOAPS) invites oil and acrylic painters..
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  • “Motion” International Call - Art & Literature Journal - Deadline October 31, 2019

    Location: Toronto, ON

    | Theme: Moving or being moved. Shifting, stirring, changing places. The rise and..
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  • Beaver Sheppard: Solo Exhibition

    Location: Montreal, QC

    Archive Contemporary presents a comprehensive solo exhibition of Beaver Sheppard’s artistic canon, for..
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  • ANCESTRAL MINDSCAPES

    Location: Toronto, ON

    Ancestral Mindscapes is an autobiographical collaboration using video, sound and photography to explore..
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  • Clay Tile Workshop

    Location: Edmonton, AB

    Participants will be working with clay to hand-build tiles using a variety of..
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  • Edible and Medicinal Gardening Lecture

    Location: Edmonton, AB

    Ukrainian settlers brought with them a wide range of traditional knowledge and practices,..
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  • Acrylic Painting for Beginners

    Location: Edmonton, AB

    Do you want to create a bright & beautiful acrylic landscape in one..
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  • Willow Heart Weaving Workshop

    Location: Edmonton, AB

    Willow Heart Weaving Workshop In this workshop, participants will learn how to trim and..
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  • New Craft Coalition: Call to Artists

    Location: Calgary, AB

    New Craft Coalition, invites applications from all mid-career and professional artists to be..
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  • Invisible by PAINTER8

    Location: Edmonton, AB

    Please join us at PAINTER8, and other Edmonton art lovers alike, for the..
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  • 19th Annual Stouffville Studio Tour

    Location: Town of Whitchurch-Stouffville, ON

    The 19th Annual Stouffville Studio Tour is an event you don’t want to..
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  • Wheat Centrepiece Workshop

    Location: Edmonton, AB

    Join this class to learn how to make a didukh-style centrepiece that can..
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  • Radio Silence

    Location: Quebec city, QC

    Québec, August 19, 2019 – Folie/Culture invites all those who express themselves through..
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  • LOOK AGAIN!

    Location: Saskatoon, SK

    LOOK AGAIN! PAINTINGS BY KATHLEEN SLAVIN AND GAIL PRPICK AT UNIVERSITY..
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  • Watercolour Workshop with Frank Townsley

    Location: Vancouver, BC

    Sunday 22nd September 10.00 AM - 5.00 PM ..
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  • Figureworks 2019

    Location: Ottawa, ON

    Figureworks 2019 Call for Artists The call for submissions to the 10th annual juried..
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  • Quasi-Nature

    Location: Montreal, QC

    Archive Contemporary Art Gallery is pleased to present Quasi-Nature, a group exhibition curated..
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  • National Oil and Acrylic Painters Society 2019 Fall Online International Exhibition

    Location: Windsor, ON

    The National Oil & Acrylic Painters’ Society (NOAPS) invites oil and acrylic painters..
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  • Unsettling Nature

    Location: Toronto, ON

    An Exhibition at: The Garage Gallery Benmiller with Artists Jill Price, Leslie Putnam, Morag Webster..
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  • Through the Eyes of a Child

    Location: CALGARY, AB

    Artists Statement: Ed Flanagan My wife had a career as an elementary school..
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  • Exposition solo Lac-Mégantic

    Location: Lac-Mégantic, QC

    L'eau, une mine d'Art du 8 juillet au 8 septembre 2019..
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  • Sustainable Fashion Designer Looking for Studio Space in Mississauga

    Location: Mississauga, ON

    Hi, I'm Amanda, I am an emerging fashion designer starting my business designing..
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  • 32 Points- 32 Voices: A Compass of Peace

    Location: Toronto, ON

    32 Points - 32 Voices: A Compass of Peace International Exhibition September 6-27, 2019 Cedar Ridge..
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Printmaking (Series 14 of 21) - Dry copier toner techniques

By Nik Semenoff September 7, 2004

} Dry copier toner techniques Printmaking Series - Part 14 of 21 By Nik Semenoff Laser printers and copiers use pigments imbedded in various plastic materials according to the need of the machine and patent rights. Most are 90% plastic with carbon pigment as the coloring agent. We are interested mainly in the black toner and it makes no difference if it comes from laser printers or copiers. To better understand your material, I suggest you do a simple test to see if it is affected by hydrocarbons. This knowledge can be helpful under certain circumstances and the image desired. I have designated toner to be either type A or B; or somewhere on the continuum. Type A are not affected by hydrocarbons such as white gas or common paint thinner and can be used to produce washes blocked out with gum. Type B toner can be bonded to the surface with white gas when using it on stone and is the most common material available these days. Both types can be bonded with heat, preferably from a paint stripping heat gun. The principle of using toner for image making is that it will not create an image in traditional lithography until is it bonded to the surface. This allows the artist to puddle the wash until satisfied - a dangerous undertaking with grease materials. Then the gum etch will desensitize the stone or plate and allow one to remove the toner mask and replace it with a good printing base. In waterless lithography, again it acts like a delicate mask to prevent silicone contacting the aluminium plate. Most will use it as a replacement to tusche washes, as it produces more varieties of textures than grease. When used in a paste-like mix, it will retain the line textures of the brush. Diluted with water and various surfactants, the reticulation can be exciting and controlled to a greater extent. Alcohol can be used with most toners but I suggest testing the product first as alcohol may dissolve one of the plastics and enlarge the dot structure. To make up a stock mix of toner one should acquire a small wide top bottle with a good cap. Put in about ¼ water and a few drops of surfactant. Add toner to twice the water volume, close the bottle and shake. In a few seconds the toner should be wet and ready to dilute for imaging. I use an old dinner plate on which a put a small amount of the toner and add water to get the effect I want. Different surfactants have various effects so experiment with what is around the house or studio. Do not use too much surfactant as it can prevent the toner particles adhering to the substrate. If you do not like the results of the drawing, just remove the toner with a wet sponge and try again. As long as all the particles are removed, the background will print clean - otherwise the characteristics of toner will produce a light tint. After the water has evaporated, the toner is bonded unto the surface. You can tell if it is bonded as the surface changes from matte to a glossy exterior. If you are doing traditional lithography, the toner is best removed with a 1:1 mix of acetone and lacquer thinner. Waterless plates are washed out with a mix of acetone and about 5-10% brake fluid. This mix retards the evaporation of the dissolved toner and allows one to use soapy water to remove it from the surface. This procedure greatly reduces the amount of acetone needed to make the plate ready for printing. The plate is printed without any print base necessary as the ink will chemically bond to the aluminium surface. Very delicate tints are possible in both lithographic methods, but waterless produces the best as there is no acid to destroy the finest particles. ________________________________________________ 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.