Post on 01-Mar-2023
THE USE OF POLY VINYL CHLORIDE (PVC) AS A BASE MATERIAL IN
PRINTMAKING
BY
ETSENAME, L. E.
Department of Industrial Design
Federal University of Technology
Akure
EMAIL: etsename @ yahoo.com
1.0 Abstract
It has been established that the bane to prolific printmaking in the third world has been
mostly due to the dearth of materials to practice with. When the opportunity to import
some comes, the need to tropicalise them becomes inevitable. This paper attempts a
revisit, the improvisation of Poly Vinyl Chloride (PVC) as a base material in producing
blocks/plates in printmaking. It will also do a comparative analysis of vinyl vis-a-vis:
linoleum, and highlight the possible advantages of one over the other. Visuals, showing a
procedural mode of using it (PVC) to prepare plates/blocks and also how to print from it
will support this paper.
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THE USE OF POLY VINYL CHLORIDE (PVC) AS A BASE MATERIAL IN
PRINTMAKING
2.0 Introduction
The act of prolific printmaking in Nigeria can be traced back to the early sixties.
And since then some measure of progress has been made in this area of art. Printmaking
is an art based on the reproduction of two dimensionally drawn or designed concepts,
using any of these reprographic methods i.e.; Relief, Intaglio, and Planography.
Printmaking in comparison to other arts like painting and sculpture is still unpopular.
This cannot be unconnected to the fact that it is a sophisticated and elitist practice, which
is regarded as a cross between the Fine and the Applied in art. It is expensive to practice.
This has discouraged many but the insistent. Soucing materials to practice in this area is
scarce, thus expensive. Most times materials have to be imported, and when they are, it is
discovered those do need tropicalisation, e.g. the linoleum.
These problems in a way have created a new class of inventors, whose
improvisational creations have evolved from the impediments faced over the years.
Examples are; Onabrakpeya’s “plastographic” exploits and Filani’s
“Petropolystyrene”projects, to mention a few.
Historically, Poly Vinyl Chloride (PVC) - our main topic of discourse has been in
use as a printmaking material, but its use has been limited and unpopular Thus, the need
to revisit it’s use and create awareness for it. This paper also aims at highlighting some
discoveries on its advantage over a more popular material, i.e.; the linoleum.
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3.0 Literature Review
“Poly Vinyl Chloride (PVC) is a type of plastic used in mock leather and
records”, states Collins Gem English dictionary (1991:594), while it further states that
“linoleum is a floor covering of hessian or jute, with a smooth decorative coating of
powdered cork”(. ibid. 317)
From the above definitions, it is possible to infer that they are related. The former
is a plastic that is like mock leather and the later is rubber that has a coating of powdered
cork, which obviously is also like mock leather. Caborn, et al (1989) has adequately
made in-depth studies of it. They see the PVC as a product of highly volatile petroleum
gases derived from refining crude oil and then broken down into monomers. Monomers
are chemical substances consisting of a single molecule, and when thousands of these are
linked together, the process is called polymerization, which forms new compounds called
polymers. Combining small molecular units called monomers makes polymers.
Polymerization reaction has been classified into two, i.e. Condensation and Addition
polymerization. Poly Vinyl Chloride (PVC) is produced by Addition polymerization. .
To produce a Poly Vinyl Chloride (PVC) polymer, one replaces one of the
hydrogen atoms in the ethane monomer with a chlorine atom, which will give a vinyl
chloride monomer, which then can be linked to make a PVC polymer.
The PVC has a plastic memory, i.e. thermoplastic nature. The PVC used in this
study is the floor tile variation, which before arriving at the end users realm have had
some of the following substances added as a finishing property:
1. Plasticisers – to soften the final product and make it less brittle.
2. Dyes and pigments to give the required color.
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3. Heat stabilizers to give resistance to heat during manufacture or in use.
4. Inert fillers to improve the properties by increasing flexibility, hardness or
toughness or to save money by increasing the bulk of the material.
5. Catalysts to control the speed of a chemical reaction.
6. Fire retarding additives.
Although the above attributes fluctuate with respective manufactured products.
Most plastics come in convenient forms like; rods, tubes, films, powders, granules,
pastes, liquids, slabs and sheets, etc.
For the PVC, identifying it is not easy, especially when two or more plastics have
been used together and also when additives have been used to alter their properties. The
PVC is technically (chemically) called “Polychloroethane”. It cuts easily and smoothly.
It is fairly strong and has two variations: the plasticised and the non-plasticised. Ours in
question is the plasticised, which comes in the form of tiles. It is flexible and sinks when
put in water. It softens when subjected to heat and in intense heat it burns, with a yellow
flame. It produces white smoke and has a heavy soot formation when burning. It also
emits a hydrochloric acid smell.
Printmaking history shows that relief and intaglio techniques have been popular
methods, used to produce prints over the ages all over the world. They date far back to ©
400 BC with the Sumerians. Chamberlain (1977), Lindbeck (1992), Ross et al (1990)
and Ojo (2000) have adequately highlighted their genesis and evolution over the ages.
Time and socio-economic dispensation has also contributed to the evolution and
metamorphosis of printmaking techniques and materials over the ages. The materials and
methods have fluctuated as the place and people changed. Ojo’s discuss on Filani’s
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Petropolystyrene projects is a clear manifestation of what changes have hit the
printmaking world. I want to believe that it’s a far cry from what the great master
Francisco Goya must had to manipulate in his time.
Over the years the method for realizing relief prints and intaglio prints have fused
together, instead of the very diverse ways of achieving them in the past.
The linoleum is becoming very scarce. This could be due to its very limited use
thus affecting its demand and manufacture; while the vinyl, due to its diverse use of floor
tiles, mosaic tiles, etc. is much in demand. Ross et al (1990) further highlighted this view
thus:
Linoleum is still being produced but is getting hard to find
these days. It’s very expensive and much softer than vinyl.
Most times it’s used as a means of introducing young
children to printmaking, which has caused many serious
artists to avoid it. p. 136.
He went further to state that lately, “the linoleum is being replaced by vinyl
compositions, which are usable when not heavily textured.”
The above statements not only support the fact of their availability but have also
thrown light on why people’s preference of vinyl over linoleum is so obvious. The issue
of cost; surveys in the Nigerian markets have indicated that the price of vinyl is about 5%
the price of linoleum, which in economic terms makes the vinyl a cheaper material to
procure in a poor country like ours. Also highlighted is the advantage of its strength; that
it is harder than linoleum, which makes it less easy to splotch and also guarantees a
longer life span, which translates into a lot more editions in production. It is also possible
to cast off it.
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Vinyl tiles are also a lot easier to wipe, and gives a painterly after effect in its
prints.
Disadvantages: Vinyl tiles are a lot harder than linoleum thereby making them
more difficult to engrave. The linoleum has a fibrous layer of jute underlain to hold it
together, the vinyl has none which makes it crack easily if not supported.
4.0 Methodology
This study was restricted to using the PVC floor tiles, linoleum with jute lining and
rubber shoe soles. Market surveys conducted in Lagos and Benin, being two cities where
art practice and business thrives in Nigeria. Interviews were conducted to sample other
art practitioners’ opinion. Books on the subject were reviewed.
Before this report was done, reprographic experiments using relief and intaglio
techniques were extensively carried out. Paper prints and aluminum casts were done.
5.0 How to Print with Vinyl
5.1 Preparation:
To get the best out of PVC, there are some basic processes one must take:
PVC’s plastic nature makes it liable to crack easily, especially when it bends. To keep it
together you have to produce a base for it. PVC can adhere to any surface. It is
advisable to stick it to a thin metal plate of either 18” or 20” gauge though it can also
stick to ⅛” or ¼” plywood. After providing a base it is advisable to bevel the edges so as
to allow it run through a press with minimal stress. This also protects the blankets from
getting torn, while impression is getting done. See fig: 1.
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Fig: 1. Mount PVC on a metal plate and bevel to an angle so that it won’t ruin the press
blanket.
5.2 Image Transfer and Engraving
Transfer of images onto the block can be either drawn directly or traced on. The
principle of reversing the image before transfer should be adhered to. For more than one
color, a color separation will have to be done. To do a color separation, the artist has the
option of making many plates to accommodate the number of colors desired, but making
sure that they register when the impressions are taken.
The other option is the technique of using one plate, thereby transferring all the
separated images on the same plate, but taking pains to engrave the lightest colored
image space first and its impression taken e.g. high lights like white, yellow, light blue,
etc. Then the next impression taken will be of images darker in color value to the first
impression e.g. yellow orche, blue, green, etc and it continues until all the colors have
had a chance to get impressed on the same surface. PVC surfaces are very smooth but
not slippery; so it can take various quality of drawing materials e.g. charcoal, pencil,
crayon, pen, markers, chalk, etc. PVC comes in various colors. Which enables the artist
to choose the most suitable for image transfer.
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5.3 Engraving:
To engrave the artist will employ the use of gauges and burins, and also a
soldering iron with a bit, (that the artist has filed into various shapes to suit his whims).
The heat allows the artist to make lines effortlessly and in whatever shape and thickness
he desires but lately, the has also been able to discover that some powerful solvents can
be employed to soften the surface of the PVC temporary. E.g.; `acetone, ethyl, alcohol,
benzol, etc. Their toxicity rating are between 2 and 5, while the threshold limit value
(TLV) ranges between 1000 and -10,and the flash points are about 12’f to 61’f. . The
term “briefly” is used, because after some time the PVC hardens again to indicate that the
solvent has evaporated. Thus allowing the artist to now take impressions off it. “Easy
engraving”, implies that the artist now has a surface area where thin lines, thick lines and
even large portions of the PVC surface can be removed effortlessly. Using whatever
material desired, e.g.; a pin, a broomstick, a pencil, a knife etc. See fig; 2 & 3.
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Fig: 3. Engraving the image on PVC with the aid of a solvent.
5.4. Inking
To ink (charge) the plate/block is dependent on whether the artist wants a Relief
or Intaglio impression. For a relief impression, the artist uses a roller (brayer) to apply ink
on the surface of the block. Spreading the ink evenly on the surface, taking pains to avoid
the ink getting into the recessed areas. He can also use small dabbers to achieve the same
effect.
Intaglio: For a recessed impression, the artist has to use a hard brush to force the
ink into the recessed grooves of the plate. After which he wipes off the excess on the
surface. The intention is to allow only the ink left in the recessed grooves make
impressions during printing. To wipe, he will employ the use of rags, newsprint / bond
paper and also the artists hands (palms – in what is referred to as a final clean swipe), to
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remove as much ink as possible on the plate’s surface. The plate is now ready for
impression. Some artists at this stage use dabbers or rollers to apply one or more colors
on the plate surface before impression is taken.
See fig; 4, 5 & 6.
Fig: 4. Inking the plate with a roller
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5.5 Impression
Now that the plate/block has been inked and wiped adequately, it is now ready.
The artist transfers the plate/block to an etching press for impression. The bed of the
press should be run out to one side of the press. Put clean newsprint on the bed to keep
the impression paper clean. The bed of the press should be clean and free of dirt, dust, or
particles of any kind. Place the freshly inked and wiped plate/block on the clean bed,
inked side up. Place your dampened paper on top of the plate, aligning it to obtain even
margins. This should then be covered with your blanket(s). Set the pressure properly
and run the plate through the press once only. See fig; 1 – for an etching press setup.
For manual transfer, the artist covers the plate with the damp paper and newsprint
on top. A padded wooden knob is then used to rub over the surface. This forces the
damp paper into the recessed area of the plate where the ink for impression is stored.
(This does need a lot of pressure).. Finally with the aid of pegs you can hang your prints
to dry over the night. Mount them and they are ready for the world to see. See fig; 7
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Fig: 7 Taking impression manually.
5.6 Casting;
To produce a cast or an embossed print the following materials can be used:
Aluminum foil, Zinc plates, high grammage paper, etc. To produce an embossed
impression, inking of the plate is not necessary. The material to be used i.e. either zinc,
foil or paper, etc is placed on the plate, covered with blanket(s) and ran through the press.
The embossed paper/zinc/foil is now mounted on a support and patinated.
6.0 Findings
The following findings were established to be true;
a. Market surveys; indicated that PVC is about 5% the price of linoleum; i.e. 30 x 30
cm sheet of linoleum cost as much as #450 in Benin, while the same size of PVC
(1.6mm or 3.00mm thick) costs about #25.
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b. It was discovered that the use of heat (soldiering iron) or some solvents (acetone,
ethyl, alcohol, benzol etc) can be used to soften the of the PVC temporary to
enable engraving the image, easy to handle.
c. The PVC due to its plastic nature is very hard, it has been established that it is
much harder than linoleum, thus implying that the PVC would produce more
printing editions than linoleum.
d. The quality of impressions produced from PVC is very good. Due to its hard
nature, very thin lines will not bend or break thus quarantining splotch free
impressions.
e. Casting off the PVC was found to be very comfortable, especially when using
aluminum metal sheet of about 22mm gauge.
f. The PVC if well kept, stays useful for a very long time. The linoleum dries and
cracks after some time, especially when exposed to the sun.
7.0 Recommendations.
The following recommendations are hereby suggested;
a. Beveling of your plates is very essential to ensure the smooth running of your
etching press when taking impressions. This is to protect and lengthen the life
span of your etching blankets.
b. For the best results from paper impressions, watercolor paper of 300grams or
sugar paper is most preferable; (especially for intaglio impressions).
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c. To achieve tidy prints that are smear \ smudge free, it is advisable to properly
clean the etching press of ink stains. Use newsprint or bond paper to cover it
before placing the plate on the slab. Good prints loose value when they are dirtied.
d. More colors can be introduced on a print after impression by using oil pastel,
watercolor or and Gouache.
e. To render aluminum plates / sheets malleable for casting purposes, introduce the
sheets to high intensity heat of approximately 500 to 600 degrees Celsius. This
can be achieved by the use of a gas stove.
f. Patination on metal caste prints should be applied with the aid of a brush or spray
gun. Car paint, printing ink or any other oil-based paint, which the artist has a
working knowledge can be used.
g. Immediately after use, the PVC plate should be cleaned with kerosene covered
with engine oil and stored in a cool dry place.
h. Because of its accessibility and low cost for procuring the materials, this
technique should be introduced to secondary schools as a measure towards
popularizing the art.
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References
Caborn, C.; Mould, I. & Cave, J. (1989). Design and technology (revised edition),
Surrey; Nelson Pub. Co., pp. 342 – 353.
Chamberlain, W. (1979). Manual of etching and engraving, London: Thomas and
Hudson, pp. 157 – 181.
Collins Gem English Dictionary (new edition) (1992). Glasgow; Harper Colling Pub. Pp.
594.317.
Etsename, L. E. (2002). Nomadic education in Nigeria – A visual analysis of the socio-
educational life of the Fulani Nomads and Migrant Fishermen in Nigeria.
Dissertation. MFA, Benin: University of Benin. pp. 27 – 37.
Klingender, F. D. (1975). Art and the industrial revolution: Frogmore, Granada Pub.
Ltd., pp. 57 – 71.
Lindbeck, J. R. (1972). DESIGN (Second edition) Bloomington: McKnight & McKnight
Pub. Co.
Murray, P. Murray, L. (1968). A Dictionary of Art & Artists. (Revised edition) London,
Penguin. pp. 126 – 127.
Ojo, B. (2000). Contemporary Printmakers in Nigeria: An update. Journal of Creative
Arts 1(2); pp. 104 – 105.
Ross, J.; Romano, C. & Ross, T. (1990). The Complete Printmaker. New York. The
Free Press. Pp. 1 – 142.
Shirley, F. A. (1973). Metal: design and construction. Amersham. Bucks. Hulton Edu.
Pub.