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 »
Please download and read the Journal below, then choose one of the three essays for comments.
1. Storytelling in Gropper’s Late Etchings
2. Olivier Deprez’s Storytelling in Le Chateau de Kafka
3. Fritz Eichenberg’s Saint Francis: Showing Humanity’s Duality
This post will be open until April 9th.
Relief printing is one of the oldest forms of printmaking and accessible to everyone, even those without a press. In relief printmaking, the uppermost surface of the material is inked-up, and printed from, as with a rubber stamp. The cut marks below the surface do not receive any ink and therefore will not print.
Linocut technique: a variant of woodcut in which a sheet of linoleum (sometimes mounted on a wooden block) is used for the relief surface. A design is cut into the linoleum surface with a sharp knife, V-shaped chisel or gouge, with the raised (uncarved) areas representing a reversal (mirror image) of the parts to show printed. The linoleum sheet is inked with a roller (called a brayer), and then impressed onto paper or fabric. The actual printing can be done by hand or with a press.
Although linoleum as a floor covering dates to the 1860, the linocut printing technique was used first by the artists of Die Brücke in Germany between 1905-13 where it had been similarly used for wallpaper printing. They initially described their prints as woodcuts however, which sounded more respectable.
As the material being carved has no particular direction to its grain and does not tend to split, it is easier to obtain certain artistic effects with Lino than with most woods, although the resultant prints can lack the often angular grainy character of woodcuts and engravings. Lino is much easier to cut than wood; especially when heated, but the pressure of the printing process degrades the plate faster and it is difficult to create larger works due to the material’s fragility.
Please read the article by Ken Johnson for the New York Times, on Philagrafika 2010, then write your opinion about “Is printmaking dead?”
Deadline for comments: Friday, Feb 24th
Attention: this post is closed for comments.
MONOTYPE:
The printing of an image from a clean, unworked surface containing no scratching or carving (in contrast to an etching plate or woodblock).
A monotype is, as its name implies, a one-of-a-kind image. Ink is applied in any of a multitude of ways to a smooth surface and then transferred to paper. Unlike most printmaking processes, a monotype image is not reproducible: each print is a unique impression. Monotypes have been called the most painterly of prints, because if ink is applied to the plate with a brush, the resulting print may display brushmarks quite similar to those of a painting.
by Josh Burch
by Nathan Oliveira
Welcome to Printmaking!
Over the last quarter of a century there has been a revival of interest in traditional hand printing methods among contemporary artists. This introductory printmaking course will focus upon relief, intaglio, and screen-printing processes.
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.