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Cellocut—Printmaking with Plastic

Cellocut is a unique type of printmaking preparation that is challenging and will yield results that are among some of the most exciting in all of printmaking.  The cellocut method was named by its originator, U.S. printmaker Boris Margo, one of the first printers to experiment extensively with plastics.  He credits his need to work with materials readily available as the inspiration for cellocut.

In the original cellocut method, liquid plastic (plastic that has been dissolved in acetone) is poured onto a rigid support backing, such as Masonite or plywood.  Once solidified, the plastic can be textured, raised into relief, and worked with various tools. It can be engraved, scratched, sanded, and filed; the plate can be worked with woodcut or intaglio tools.  These tools include any type of gouge, file, knife or blade that can scribe lines, textures or facilitate removal of the surface to create a “high and low” profile.  The high profiles will print, the low will resist inking.

The resulting plastic plate can be printed either as a relief or as an intaglio plate, or even both. It can be printed alone or in combination with other techniques. Thin layers of plastics can easily be placed on top of intaglio plates and printed as a single unit.  This opens completely new forms of prints and can lead to the development of series works that utilize similar forms and textures.  There is virtually no limit to the variety of prints you can create using as a basis one cellocut to which you add found texture sections.

Acetone is dangerous and should be used very carefully.  Wear gloves, eye protection and a respirator if this is your choice of solvent for cellocut prep.  Perhaps not a true cellocut, there are ways to create similar results without dealing with the chemical contact involved with acetone.  While being a printmaker can encompass experimental methods, safety should be remembered at all times.  Softening plastic in an oven, perhaps, might offer an alternative to the use of acetone.  And using a hand torch you can create small areas of texture and interest and avoid contact with harsh fluids.

When you examine the concept of cellocut, it involves a liquid surface that hardens and is flat, facilitating a smooth surface upon which relief and printing can be achieved.  But, as long as the added surface is smooth, reasonably carvable and permanently attached to the backing support, why not consider other options?  If you are careful, melted wax can be carved with very little trouble.  Pour wax onto a surface and carve into it.  If prints are run by hand with low surface pressure, the wax will hold up for several prints.  It can also be embedded with textural elements and even reusable textured acrylic segments.

Intaglio in general is all about lines scribed into a plate.  When ink is placed on an intaglio plate that has texture, the resulting print will yield linear designs as those depicted on the plate.  A mirror image print is achieved.  When compared to cellocut, the latter affords a higher degree of texture.  The cellocut plate can actually be used to create embossing because the plate displays a strong high/low texture.

Printmaking is a wonderful area for experimentation and development of personal style.  Give any type of printmaking a try and see for yourself.  Etching a small scrap of plastic with a sharp tool will yield a great plate from which you can create totally original prints.  Discover printmaking fun for yourself. See your retailer and visit www.graphicchemical.com for all your printmaking/engraving needs.