In an age of environmental concerns, "non-toxic" is a common enough term, but when it comes to printmaking and the visual arts in general, it is often a matter of life and death.

In recent years, several well known artists have prematuraly died from horrible cancers, that were probably caused by frequent exposure to toxic chemicals.

Currently, there are organisations in place, such as the Canadian Occupational Safety and Health Administration, or the US Occupational Safety and Health Administration which moniters use of hazardous materials and implements health and safety policies for the workplace and schools.

On Saturday, November 17, 2007, Keith Howard, professor of art and head of the printmaking department at the Rochester Institute of Technology, spoke at the Kaleidoscope Arts Foundation on the topic of non-toxic printmaking.

Along with his talk, he also exhibited a selection of prints made by this non-toxic process, which included several of his own prints, as well as those made by students who attended the workshop he gave in non-toxic printmaking at the Kaleidoscope Arts foundation the previous week - November 14 to November 17.

The development of non-toxic printmaking is something that Professor Howard is obviously passionate about and for very personal reasons, it turns out.

As a professional printmaker, he once made frequent use of highly toxic chemicals, which, over time caused him to feel increasingly unwell. Upon consulting his physician, it became apparent that the toxic environment he worked in was slowly killing him.

As he explained it, his doctor asked what it was he did for a living and then, what chemicals he commonly used. After listing the chemicals, a total 115, he was told he had a choice: either change his profession or in three to five years end up in a box.

Although his career as a printmaker was important to him, it was not something he was willing to die for. As things turned out, however, this health challenge became a turning point in his career.

He started searching for alternative, non-toxic ways of printmaking, beginning by considering the most common, easily eliminated chemicals form the printmaking studio. These were solvents. Solvents are used in cleaning etching plates and the inking table, with paint thinner, turpentine and laquer thinner being the most common of them. He subtituted cooking oils and soap and water for these.

At that time, he was still using oil-based etching inks, but eventually he and his colleagues developed suitable water-based inks that require only soap and water as the cleaning agent, eliminating even the cooking oil that replaced the earlier solvents.

His research then led to the discovery of a photopolymer film that had been developed for printing circuit boards. He discovered that this material could be applied to the intaglio printmaking process. Intaglio comes from the Italian and means to engrave, or to cut into something.

This film later evolved into a second generation photopolymer film, known as "ImagOn ULTRA." Professor Howard applies this material to an etching plate or even a sheet of plastic and with the help of an ultraviolet exposure unit, he is able to make an etching.

In place of nitric acid, he etches the image with a developer, consisting of water and soda-ash. As Howard pointed out, one could safely drink the developer.

Professor Howard's search for safe printmaking techniques has so far involved a prolonged, 20-year investigation that is on- going. Of course, maintaining health is a concern for everyone, but artists are sometimes willing to take health risks if in the process, they attain the desired effect they are aiming for in their work.

The long-term consequences, however, can be disastrous. Thus, Keith Howard's non-toxic approach to printmaking is a welcome alternative.

The possibility of expanding ones creativity, is what first attracted me to this process. About ten years ago, I saw one of Professor Howard's demonstrations in non-toxic printmaking, which, I remember was entitled, "Prints to Die For, Without Killing Yourself."

As a result of this, I made further inquirey about workshops and about eight years ago attended one in Dumfries, Scotland. While attending the College Arts Association annual conference, this past February, I again caught-up with Professor Howard and asked him if he would be interested in doing a workshop in Bermuda. His reply was that he thought he could be persuaded. I then brought this possibility to Fiona Rodriguez-Roberts, director of the Kaleidoscope Arts Foundation. She was immediately enthusiastic; hense the recent workshop and culminating exhibition and lecture.

It is safe to say, that those who participated in the workshops, ended up becoming "hooked" on printmaking. Indeed, Professor Howard's enthusiasm is such, that already, plans are being made for his return for additional printmaking workshops and possibly one in figure drawing.

This is the first art workshop that the Kaleidoscope Arts Foundation has undertaken. They took a risk in putting it on, but word of its success is already out. Some, unable to participate in this recent workshop, are saying that next time they plan to be part of it.