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Traditional lithography can now be safer and simpler with no sacrifice of quality thanks to new materials that replace phosphoric and nitric acid, acetone, naptha, asphalt, lithotine, paint thinner, and lacquer bases. The following is a step-by-step procdure for using these new materials-- first, for stone lithogrpahy, and then for ball-grained plate lithography.
In recent years stone lithography seems to have fallen out of favor with college and university printmaking programs, probably because of increasing environmental awareness and stricter EPA regulations. Instructors correctly wish their students to avoid working with hazardous materials, such as nitric acid and lithotine. Thanks to the innovations discussed in this book, stone lithography can once again become part of the printmaking curriculum.