Nil Santana
Nil Santana You’re right. I had seeing that one as well. Both are very intere…More »
Julie Neill reminds me of this white stripes video: http://www.youtube.com/wa…More »
Brandy Rains I think all three artists had incredible stories to tell, but I e…More »
Brittany Reynolds I enjoyed reading “Storytelling in Gropper’s Late Etchings”. I th…More »
Sam Russell I enjoyed the Fritz Eichenberg’s article. I decided to view the w…More »
Sarahcuda After reading this journal about Printmaking and Storytelling my …More »
Chelsey Tatum Absolutely not. I think there is a lot to be said about the p…More »
Sarahcuda I don’t think that printmaking is dead. I do believe that less …More »
Brandy Rains I agree with everyone else so far. And also, I seem to be unorigi…More »
Nil Santana I am really enjoying the comments so far. Eventually, we all agre…More »
Shawn Ogden Is printmaking dead? Is art dead? How can we know for sure, and w…More »
Leanne Kawahigashi After reading the article, I don’t think that printmaking is dead…More »
Shennae Steele Don’t think printmaking is dead because they are different toys a…More »
Brittany Reynolds I think that printmaking is not dead. There may be different ways…More »
Stephanie Cochran I do not think that printmaking is dead. It may have evolved int…More »
Sam Russell Firstly, Mr. Ken Johnson receives the “Fat Bag of Fail Award”…More »
Last class, Shawn sparked an interesting conversation, something I’ve been interested in for a while — the use of objects to represent pixels, then, render an image. In his case, coins, pennies precisely. Below are some cool examples of how much one can “destroy” an image, eliminating the details, and yet roughly represented, it is clear what that depicts.
Music video done with dice.
Your Final Project — Brief:
Any technique, any materials, any size. Open subject matter.
You turn in: TWO final images, matted on white matte-board.
All images matted on 16×20 white matte-board
Solarplate etching is a new alternative to traditional metal plate etching, which does not require the use of grounds and acids. Solarplate is a light sensitized steel backed polymer material used by artists as an alternative to hazardous printing techniques. It’s a simple, safer, and faster approach than traditional etching and relief printing.
Technique at a glance:
Collography (sometimes misspelled “collagraphy“) is a printmaking process in which materials are applied to a rigid substrate (such as cardboard or wood). The word is derived from the Greek word koll or kolla, meaning glue and graph.
The plate can be intaglio-inked, inked with a roller or paintbrush, or some combination thereof. Ink or pigment is applied to the resulting collage, and the board is used to print onto paper or another material using either a printing press or various hand tools. The resulting print is termed a collograph. Substances such as carborundum, acrylic texture mediums, sandpapers, string, cut card, leaves and grasses can all be used in creating the collograph plate. In some instances, leaves can be used as a source of pigment by rubbing them onto the surface of the plate.
Different tonal effects and vibrant colors can be achieved with the technique due to the depth of relief and differential inking that results from the collograph plate’s highly textured surface. Collography is a very open printmaking method. Ink may be applied to the upper surfaces of the plate with a brayer for a relief print, or ink may be applied to the entire board and then removed from the upper surfaces but remaining in the spaces between objects, resulting in an intaglio print. A combination of both intaglio and relief methods may also be employed. A printing press may or may not be used.
All prints must be mounted ON matte-board (no need to cut windows and mount from the back).
Intaglio (pronounced in-TAL-ee-oh) is a family of printmaking techniques in which the image is incised into a surface, known as the matrix or plate. Normally, copper or zinc plates are used as a surface, and the incisions are created by etching, engraving, drypoint, aquatint or mezzotint. Collagraphs may also be printed as intaglio plates. To print an intaglio plate, ink is applied to the surface and then rubbed with tarlatan cloth to remove most of the excess. The final smooth wipe is often done with newspaper or old public phone book pages, leaving ink only in the incisions. A damp piece of paper is placed on top and the plate and paper are run through a printing press that, through pressure, transfers the ink from the recesses of the plate to the paper.
Intaglio techniques are often combined on a plate. For example Rembrandt’s prints are referred to as “etchings” for convenience, but very often they have engraving and drypoint work as well, and sometimes no actual etching at all.
The Inferno, Canto 12, engraving by Gustave Doré.
Drypoint is the most direct of all intaglio techniques. A sharp drypoint needle and a metal plate (or plexiglass) is all you need. Copper is ideal, but you can achieve almost same desired effect with plexiglass sheets, which are more cost efficient. The image is produced by scratching the surface with a sharp needle creating grooves on the surface. Those grooves will hold the printing ink.
Nil Santana on Pixel-objects
11:49 am, 04.30.12
You’re right. I had seeing that one as well. Both are very interesting in the sense that they deal with our perceptions, and how low/simplified representations can be.
Nil Santana on Read, and comment: is printmaking dead?
10:04 pm, 02.21.12
I am really enjoying the comments so far. Eventually, we all agree that printmaking is not dead. I also subscribe to the idea that its practice has changed throughout the years, as Shawn has also pointed out how other areas such as photography and painting are influenced by technological advancements. Keep it in mind as we’ll advance thru other techniques, until we reach the point where computer and old processes cross.