A painter, printmaker, and educator, Dan Welden developed the solarplate printmaking method in 1972 and has been working with this technique ever since. As a master printmaker, Dan has worked with prominent artists including Willem and Elaine de Kooning, Dan Flavin, Eric Fischl, David Salle, and Lynda Benglis. He is co-author of the book, Printmaking in the Sun and has had 60 one-person exhibitions. He is known for his hybrid works on paper, combinations of print, paint and drawing techniques. Dan directs a summer program in Italy and offers workshops all over the world, including at Creative Arts Workshop.We spoke with Dan about solarplate printmaking:
CAW: How does "etching with the sun" work? How long does the process take?
DW: It’s a very simple procedure. When exposing the solarplate to the sun, the material hardens. If you block out areas, those areas remain in their natural state, which is water-soluble. Therefore, you can take an image on film (a drawing, photograph, painting, or photocopy), place it in contact with the plate and expose it to the sun, bring it in, wash it in water and voila, you have an etched plate – no acid, solvents or grounds. It’s really safer!
What if the sun is not shining? Can other light sources be used?
Sure, we use a light box with a mini sun inside – just plug it in and the UV light hardens the plate.
What issues did you come across when you were first developing this process?
Technicians told me it couldn’t be done. That was the biggest issue. Of course, one never tells an artist what they can’t do.
What are the advantages of the solarplate method?
There are so many, but my favorites are the safety factors. The ease and speed of plate preparation, and the printing is a snap. Since it’s so fast, it becomes much more reasonable in price than other techniques out there. It also has the ability of producing the highest quality results!
Do you find any disadvantages or boundaries?
I guess the major factor is the size limitation to some people. Plates are limited to 30 x 40 inches. That’s a little joke – not many printmakers work that large. Furthermore, I would recommend anyone starting out, to work small first.
Should you already know something about printmaking before trying this method? Can other mediums be incorporated?
Of course it’s helpful to know basics. However, I’ve taught this technique to little kids. They love it as much as big kids.
Between leading workshops across the country and abroad and working with professional artists as a master printmaker, how often are you able to spend time on your own work?
Great question. There is never enough time to do my own work. Although I love doing workshops and collaborations with other artists, especially when it allows me to squeeze in some work during the time away from home. When I arrive back in my own sanctum, I have to play ‘catch up,’ face the music and get the mundane projects done. It would be nice to have an assistant, an organizer or even a wife! What else is new for any artist? I try and work on a daily basis. In reality, I work very hard and long. Having 6 solo shows in this year alone, can attest to something – certainly not to sales as of late.
Can you talk a little about process versus end result in solarplate printmaking? Is one more important for you?
I like to say, process vs. image. Image takes more of a priority with me. Otherwise, I would not be as active with drawing and painting. Process, however, is extremely important – something I get a real kick out of. I love watching and waiting for surprises to happen. I think I can be very young at heart, especially when it comes to ‘playing’ with process.
With environmental concerns rising, do you find that more people are looking for alternatives to traditional printmaking processes? Do you still use any traditional techniques?
Absolutely yes, especially with schools being more concerned with health and safety issues. Solarplate is one of those contributors to keeping printmaking alive. Yes, I still use acid, knives, stones and those lovely, sensuous materials. In fact, that may be the one disadvantage of the solarplate – it’s a piece of plastic, mounted on steel. Unlike copper it has little aesthetic love of material. It’s just plain practical.
As the originator of solarplate printmaking, what advice do you have for someone who is just beginning to explore this process?
Listen, watch and learn all the rules. Once you know all the rules, learn how to break them.
Dan Welden will be teaching a week-long workshop Solarplate… Etching with the Sun at Creative Arts Workshop from June 8-12, 10-4. Look for details in the Summer Brochure or visit http://www.creativeartsworkshop.org/html/classes/workshops.html#solarplate.
All images are from Dan Welden's recent workshop at Nimbus Arts in St Helena, CA. Courtesy Nimbus Arts.
