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Its Origins, Techniques, and Application to the Creation of Light Effects University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects 8-1-1972 A Study of Serigraphy: Its Origins, Techniques, and Application to the Creation of Light Effects Paul A. Stenhjem Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Stenhjem, Paul A., "A Study of Serigraphy: Its Origins, Techniques, and Application to the Creation of Light Effects" (1972). Theses and Dissertations. 3401. https://commons.und.edu/theses/3401 This Thesis is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. A STUDY OF SERIGRAPHY: ITS ORIGINS , TECHNIQUES, AND APPLICATION TO THE CREATION OF LIGHT EFFECTS by Paul A. Stenhjem Bachelor of Science, University of North Dakota, 1963 A Thesis Submitted to the Faculty of the University of North Dakota in partial fulfillment of the requirements for the degree of Master of Arts Grand Forks , North Dakota August 1972 This Thesis submitted by Paul A. Stenhjem in partial fulfillment of the requirements for the Degree of Master of Arts from the University of North Dakota is hereby approved by the Faculty Advisory Committee under whom the work has been done. 347949 ii Permission Title A Study of Serigraphy: Its Origins, Techniques, and Application to the Creation of light Effects Department Art Degree Master of Arts In presenting this thesis in partial fulfillment of the requirements for a graduate degree from the University of North Dakota, I agree that the Library of this University shall make it freely available for inspection. I further agree that permission for extensive copying for scholarly purposes may be granted by the professor who supervised my thesis work or, in his absence, by the Chairman of the Department or the Dean of the Graduate School. It is understood that any copying or publication or other use of this thesis or part thereof for financial gain shall not be allowed without my written permission. It is also under­ stood that due recognition shall be given to me and to the University of North Dakota in any scholarly use which may be made of any material in my thesis . Signature__/V. D a te y— ^ < 0 i 1 3 ^ _________ iii ACKNOWLEDGEMENTS I wish to thank the following people for their assistance and criticism: Committee members Stanley O. Johnson, Frank Kelley, and Dr. Clyde Morris; former University of North Dakota Art Professor Dr. Robert A. Nelson; University Photographer Jerry Olson; and Austin (Minnesota) High School Graphic Arts Instructor Harlan Koch. iv TABLE OF CONTENTS ACKNOWLEDGEMENTS............................................... Iv LIST OF PLATES.................................................................................................................. vi LIST OF ILLUSTRATIONS................................................................................................ vlii ABSTRACT............................................................. lx INTRODUCTION............................................................................................... 1 Chapter I. ASPECTS AND DEVELOPMENTS .............................................................. 5 History of Serigraphy History of Photo screen Light Effects by Selected Artists II. PROCEDURAL M ETH O D S...................... 43 The Silk Screen Process The Creation of Light Illusions III. PRESENTATION AND ANALYSIS .............................................................. G4 IV. CONCLUSION.............................................................................. 85 Restatement of the Problem and Procedures Summary of Results of the Study- Recommendations for Further Research BIBLIOGRAPHY........................................... 89 v LIST OF PLATES Plate Page I. Degas: A Ballet Seen from an Opera Box 1885 .......................... 16 II. Duchamp: Nude Descending a Staircase No. 2 1912 . 17 III. Russolo: The Solidity of Fog 1 9 1 2 ........................................... 18 IV. Rouault: The Old King 1916-37........................................................... 19 V. Picasso: Three Musicians 192 1 ....................................................... 20 VI. Hartung: Untitled 1963 ............................................................................. 2 1 VII. Lindner: Hello 19 b b ................................................................................ 2 2 VIII. Manet: Impression: Sunrise 1872 ................................................. 24 IX. Redon: The Birth of Venus 1912......................................................... 25 X. Bonnard: Dining Room in the Country 1913.................................. 26 XI. Cleizes: Symphony in Velvet 1930 ................................................... 27 XII. Reinhardt: Abstract Painting, Blue 1952 ................................ 28 XIII. Marca-Relli: The Blackboard 1 9 6 1 ................................................ 2 9 XIV. Bell: Memories of Mike 1967............................................................. 30 XV. Mondrian: The Red Tree 1908.............................................................. 32 XVI. Balia: The Street Light— Study of Light 1909 ........................... 33 XVII. Klee: La Belle Jardiniere 1939 ......................................................... 3 4 XVIII. Annszkiewicz: All Things Do Live in the Three 1963 . 35 vi XIX. Poons: Nixes Mate 1864 ........................................................................... 36 XX. Manet: A Bar at theFolies-Bergeres 1881-82 38 XXI. Cezanne: The Bay from L'Estaque 1886........................................... 39 XXII. Kokoschka: The Bride of the Wind 1 9 1 4 ...................................... 40 XXIII. Soutine: Woman in Red 1922 ................................................................ 41 XXIV. Blue Luster......................................................................................................... 66 XXV. Rose L u s t e r ...................................................................................................... 67 XXVI. Seed Pod # 2 ...................................................................................................... 68 XXVII. Opaline W e b ............................................................................' ....................... 71 XXVIII. Pink Horizon..................................................................................................... 72 XXIX. Arrow Reversal................................................................................................. 73 XXX. Seed Pod.............................................................................................................. 76 XXXI. Even G lo w .......................................................................................................... 7 7 XXXII. Black Hammer S t o r e ..................................................................................... 78 XXXIII. The O rn am en t................................................................................................ 79 XXXIV. Orange Chroma................................................................................................ 82 XXXV. Yellow Chroma................................................................................................ 83 XXXVI. The D oor............................................................................................................... 84 vii LIST OF ILLUSTRATIONS Figure Page 1. Silk Screen............................................................................................................. 4 7 viii ABSTRACT The purpose of this study was to relate silk screen processes to the intrinsic qualities of light in nature. Due to recent broad experimen­ tation by artists using silk screen and photoscreen, the problem became significant. The past was examined for possible links to the researcher's t current study. The writer investigated techniques in an effort to gain knowledge of light effects in nature. The materials used by the writer TATnrn nr»v r-* + o 1 -r 1 m o f n r /A /-I /-m4- ->■*-% .-3 +■*-—* v-* C "F ■*“ r J " ' A f ' ' . - . *v UV_ uv/li / CjXU'c/ , Hi JO 1X0 Uiiu ^iUO , O U O O l UlxU UX UJiDiOi i 1 VD L O screen. Poster and process inks were utilized. Thirteen works were presented as evidence of the study. ix INTRODUCTION For nearly all animals, vision is an instrument of survival, but for most of them, from those who stalk the jungle to those who flee, it is little more than that. For man, on the other hand, vision is not only an aid to survival but also an instru­ ment of thought and a means to the enrichment of life (Mueller and Rudolph, 1966). As music is used to enrich man's ear, art can be used to enlighten his vision. Ofttimes a melodic phrase is used to mimic nature's sound; a bird's song, a babbling brook, ora coming storm. Art, too, is used to awaken man to some of the visual occurrences in nature. The purpose of this study was to relate silk, screen processes to the intrinsic qualities of light in nature. Faber Birren (1963), an authority on color, discussed nature's art of coloration. He reported the luminescence seen upon the ocean due to shining microscopic light. Luminous colors radiate from seaworms, jellyfish, various shellfish, cuttlefish, squid, the Portuguese Man-of-War, glowworms, some bacteria and fungi, fireflies
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