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: 2. Engraving the image on PVC with an electric iron.

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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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Fig: 5. Inking the plate with a brush.

Fig: 6. Wiping the plate.

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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.