DOCSLIB.ORG

The Mid America Print Council Journal

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Mid America Print Council Journal The Mid America Print Council Journal Volume 22, Numbers 3 & 4, 2014 Print Catalyst: Traditions and new forms for print language The MAPC Officers: TABLE of To read online or download PRESIDENT: print-your-own MAPC Journal pdfs visit Nancy Palmeri CONTENTS www.midamericaprintcouncil.org The Mid America Print Council Journal VICE PRESIDENTS: Volume 22, Numbers 3 & 4, 2014 Morgan Price Print Catalyst: Traditions and new forms for print language Jean Dibble SECRETARY: Ellie Ronl LETTERS FROM PRESIDENT THE PROCESS OF CONCEPT - TREASURER: AND CO EDITORS Curtis Jones analyzes his personal Donna Stollard Nancy Palmeri, Jennifer Ghormley, struggle of discovery and finding Anita Jung, Kristine Joy Mallari meaning through an engagement amidst the process of the print medium. CONTRIBUTORS Nicole Geary, Curtis Jones, Tim Pauszek, TO THE BUILDERS Melissa Potter, Samantha Parker Salazar, Tim Pauszek relates the strong tradition Tracy Templeton, Lucia Volker, and contemporary approach of Christopher Cannon woodblock printmaking to a culture of hard work and fine craftsmanship. DIGITAL MATERIALS AND MAPPING WITHIN CONTEMPORARY PRINT IU MIDWEST MATRIX: CONTINUUM Lucia Volker discusses how printmakers are Tracy Templeton discusses the gathering futhering the medium and staying current of a diverse and interconnected group of in the art world. print artists, the traditions of Midwestern printmaking and its newest tradition. PULP FEMINISM: RADICAL SOCIAL HISTORIES IN HAND PAPERMAKING MEMBERSHIP FORM Melissa Potter relates how the art of making paper by hand shares the ethos of the early feminist art movement and socially engaged art. OSTENTATIOUS DISPLAYS: INTERVIEW WITH SAMANTHA SPRING PARKER SALAZAR companion mailer Nicole Geary examines how Salazar's work is motivated by a variety of decorative and MAPC 2014 Conference, Wayne ornate aesthetics to create unique spaces State University, Detroit, MI of interaction for viewers. By Christopher Cannon On the Cover: Ellie Honl Herman, Westminster Ct.: Appearances Can be Deceiving. Medium: screen print, acrylic, graphite, 8' x 8', 2014 Photo by: Lennie Mahler 1 received her MFA in 2006 from the NANCY PALMERI University of Nebraska-Lincoln. She Letter from the Editor: exhibits internationally through prints have been included in several international and national Printmakers never cease to amaze me in their hard juried exhibitions, exchanges, and venues. Recently, her work has been exhibited at the Istanbul invitations, and hung a solo installation work, dedication, and vast amounts of creativity. From Museum of Graphic Art (IMOGA), the Museo de Artes I 2012 at Liv Aspen Art, in downtown Contemporaneas Plaza, Bolivia, Proyecto’ace Buenos Aires, matrix to meaning, context to content, we are free to Aspen, Colorado. Jennifer has taught Argentina, and the Los Angeles Municipal Art Gallery, Los Angeles, explore and express through a wide range of visual printmaking classes and workshops CA. She is a recipient of the Frans Masereel Graphic Arts Center formats. In a recent lecture, a young student asked for CU-Boulder, Anderson Ranch Art fellowship in Kasterlee, Belgium and a Bogliasco Foundation Center, CO, Arrowmont School of Arts me “What is the role of a contemporary artist in the Fellowship, Bogliasco, Italy. She has presented at the Southern and Crafts, TN, Peninsula School of Graphics Council Conference numerous times, and has lectured art world of today?” As the wheels in my head spun, Art, WI, and Ah-Haa School for the and demonstrated her printmaking techniques at colleges and I could not help but relate this through printmaking. Arts, CO. Currently, Ms. Ghormley universities, nationally, including: the University of Cambridge, UK, Washington University, St. Louis, The inherent nature of our process is to honor the telecommutes as the Programs Pratt Institute of Art, New York, Louisiana State University, Baton Rouge, LA, Cornell University, Ithaca, JENNIFER Coordinator for the Venice Printmaking tradition while concurrently investigating and utilizing NY and Boston University, Boston, MA, and Murray State University, Murray, KY. Palmeri has had solo Studio, in Italy. In order to embrace all exhibitions of her work in New York, Boston, Louisiana, Texas, Italy, Chicago, and Virginia. Her prints GHORMLEY new forms and technologies. The articles in this issue of her creative urges Jennifer creates were included in Color Print USA, Lubbock, TX, and Global Matrix International Print Exhibition, all relate to this convention in unique ways. artwork under her own name, as well Perdue University Art Gallery and the Frans Masereel Graphic Art Center’s Jubilee Exhibition, Belgium. as Jen G Studios. She has also curated three exhibitions in The Gallery at UTA on the campus of the University of Texas at Arlington, Anthropology in Print, Pervasive Impressions: Contemporary Political Prints, and Foundations: Mechanics and Instinct. Palmeri’s prints are in the collections of the Fogg Art Museum, Harvard, Museo de Artes Contemporaneas Plaza, Bolivia, University of Colorado, Boulder Special Collection, University Art Museums, The Royal Museum of Fine Art, Antwerp, Belgium, The Sheldon Memorial Art Gallery, Lincoln, NE, The Santa Barbara Museum of Art, CA, The Hunterdon Art Center, Clinton, NY, the Instituto per la Cultura e l’arte, Catania, Italy, the UCLA Grunwald Center for Graphic born and raised in the desert of west Arts, The University of Miami, and the Tama Art University in Tokyo, Japan. Texas. She studied printmaking at Letter from the Co-Editor: the University of North Texas and From the beginning, printmaking has always served moved to Portland, Oregon after graduating in 2011. Joy has done as a means to improve the status quo. Movable type Letter from the President: work for Oblation Papers and Press revolutionized the way the world communicated letterpress shop, Flight 64 co-op This year has been quite a journey for many of us. A number of our excellent and shared information. It's no surprise the world of printmaking studio and the Museum of printmaking is filled with problem solvers and creative membership have exhibited, lectured or taught across the country and world. Contemporary Craft. She is currently It is in the sprit of this adventure that I take on my new leadership role as the Printmaking Product Manager at thinkers. This innovation continues as we examine president of MAPC. Gamblin Artists Colors. the contemporary context that print media exists in. As mechanical reproduction increases, we find more As we all get back to our real lives after a wonderful conference experience meaning and heart in what our hands can create. As at Wayne State University in Detroit, I have had some time to reflect on the KRISTINE the rest of the world is speeding up and finding less excellent panels, demonstrations and exhibitions offered during the four-day JOY MALLARI value in what comes through the etching press, or a event. The level of dialogue and engagement in issues and ideas related to litho press, or pushed through a mesh screen, we find printmaking as a studio practice, pedagogy, theoretical and critical indicator, new ways to share our message and our stories. I'm and historical place marker was invigorating. Like me, many of us are looking excited to share this collection of essays that explores to the next conference in Indiana as an anticipated source of new discoveries, the different avenues that printmakers are embarking and a common-ground reconnecting point with students, colleagues, and to continue the historical innovation that print and long-time friends. print media is rooted in. I would like to extend my thanks to the previous board for its excellent leadership and vision of our organization. Many of you have personally mentored me through the years and I am grateful for your guidance and care. Thank you to the new board members for your dedication to MAPC as it moves into future endeavors. Most significantly, my heartfelt thanks to all of is an artist and the Professor of the members, your works and contributions to the field are immeasurable. Intaglio and Printmedia at the Letter from Co-Editor: University of Iowa. Her work is I am an artist whose work is grounded in traditions eclectic and investigates the everyday occurrence of being of the readymade, appropriation and art as an a human being engaged in the everyday occurrence. Issues concerning making and world, She freely moves in and waste, along with relationships between technology out of various art practices. She and the human hand inform my work. Over the past is organizing a 2014 summer seminar investigating art as a three years I have collaborated with a building and its form of social practice. occupants through reclaiming castoff materials from those CNC machines, records of incidental marks that I repurpose. ANITA JUNG 2 3 Contributors NICOLE GEARY is an artist hailing from the green, swampy lands of north Florida, where she earned a BFA in printmaking from the University of Florida. She graduated with an MFA in printmaking from the University of South Dakota in 2013. She has exhibited in juried shows at venues including the Bemis Center for Contemporary Art, Spudnik Press Cooperative, and Washington Printmaker’s Gallery. Nicole currently lives and works in San Antonio, Texas as an adjunct printmaking instructor. CURTIS JONES is an artist and printmaker living in Norman, OK. where he's an Associate Professor of Printmaking at the University of Oklahoma. He received an MFA from the California College of Arts and Crafts in 2003 and a BFA from the University of Washington in 1994. He works primarily in screenprinting, installation, and book arts and has pieces in several public and private collections. Jones' work explores his fascinations with (and the relationships between) perception, ritual, meditation, and obsessive behavior. TIM PAUSZEK grew up in Dunkirk, New York on the shores of Lake Erie. He is currently attending Alfred University as a Bachelor of Arts candidate in Interdisciplinary Art and Chemistry.
Load more

Recommended publications
  • Tara Donovan "Printmaking: The
    Tara Donovan Printmaking: The Monotype Created by Mary Provosty Post-Visit Lesson Plan Age adaptable Visual Arts 1-2 Lessons Introduction Monotyping is a form of printmaking in which images or lines cannot be reproduced accurately more than once. It is essentially a printed painting - the artist works by drawing or painting directly onto a smooth, non-absorbent surface (commonly referred to as a printing plate) to form an image that will be transferred onto a sheet of paper. To create an image, one uses a subtractive method, removing the ink with brushes, rags, and texturized surfaces. At most, two impressions can be obtained. The second print from the original plate is referred to as a “ghost print.” Monotyping was first invented in the 1600’s to produce brushed sketches intended as finished and final works. About Tara Donovan Tara Donovan is a contemporary artist who works primarily in large scale, site-responsive installations. The success of her work is achieved by the surprising way she arranges great quantities of everyday materials into artistic environments and transforms the everyday to the otherworldly. She begins with the ordinary and launches it into the extraordinary. Styrofoam cups, plastic drinking straws, buttons, wooden toothpicks, rubber bands, pencil erasers, scotch tape are all materials she has explored and used in her art. She has also experimented with printing, utilizing the same mundane materials she uses for her sculptures. Some of her prints are created by using rubber bands that she meticulously lays out to create complex organic compositions. She then inks the rubber bands and obtains a print from them.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9201665 Tbward a feminist identity: Contemporary Mexican-American women novelists Gonz&lez, Marfa Carmen, Ph.D. The Ohio State University, 1991 Copyright ©1991 by GonzAlez, Marfa Carmen.
    [Show full text]
  • Art and Art History 1
    Art and Art History 1 ART AND ART HISTORY art.as.miami.edu Dept. Codes: ART, ARH Educational Objectives The Department of Art and Art History provides facilities and instruction to serve the needs of the general student. The program fosters participation and appreciation in the visual arts for students with specialized interests and abilities preparing for careers in the production and interpretation of art and art history. Degree Programs The Department of Art and Art History offers two undergraduate degrees: • The Bachelor of Arts, with tracks in: • Art (General Study) • Art History • Studio Art • The Bachelor of Fine Arts in Studio Art, which allows for primary and secondary concentrations in: • Painting • Sculpture • Printmaking • Photography/Digital Imaging • Graphic Design/Multimedia • Ceramics The B.A. requires a minimum of 36 credit hours in the department with a grade of C or higher. The B. A. major is also required to have a minor outside the department. Minor requirements are specified by each department and are listed in the Bulletin. The B.F.A. requires a minimum of 72 credit hours in the department, a grade of C or higher in each course, a group exhibition and at least a 3.0 average in departmental courses. The B.F.A. major is not required to have a minor outside the department. Writing within the Discipline To satisfy the College of Arts and Sciences writing requirement in the discipline, students whose first major is art or art history must take at least one of the following courses for a writing credit: ARH 343: Modern Art, and/or ARH 344: Contemporary Art.
    [Show full text]
  • Indigenous and Race-Radical Feminist Movements Confronting Necropower in Carceral States
    Indigenous and Race-Radical Feminist Movements Confronting Necropower in Carceral States Lena Carla Palacios Department of Art History and Department of Integrated Studies Communication Studies in Education McGill University, Montreal A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy in Educational Studies and Communication Studies. © Lena Palacios 2014 Lena Palacios Dedication To the victims and survivors of both sexual and state violence, to the many shadowboxers whom I know and love who intimately understand that boxing is war but so is life. 2 Lena Palacios Table of Contents Dedication 2 Table of Contents 3 Abstract (in both English and French) 4 Acknowledgements 6 Introduction—Chapter 1 7 Challenging Convictions: Indigenous and Race-Radical Women of Color Feminists Theorizing and Resisting the Carceral State Chapter 2 44 Transferring and Going Underground: Indigenous and Race-Radical Women of Color Feminist Epistemologies Chapter 3 80 Reading In-between the Lines While on the Run: Reading Racialized and Gendered Necropower in Canadian News and Legal Discourse Chapter 4 122 Outlaw Vernacular Discourses and Media-Justice Activism: Indigenous Women and Black Trans Girls Challenging Media Necropower in Settler States Chapter 5 169 “Ain’t no Justice ... It’s Just Us”: Indigenous and Girls of Color Organizing Against Carceral Feminisms and Carceral State Violence Conclusion—Chapter 6 233 With Immediate Cause: Intense Dreaming as World-making References 244 3 Lena Palacios Abstract This dissertation theorizes how Indigenous and race-radical women of color feminist activists— in particular, Black and Indigenous feminists—identify, conceptualize, and resist interlocking forms of interpersonal, sexual, and carceral state violence in white settler societies in Canada and the United States.
    [Show full text]
  • Education Guide
    Education Guide Out of Print Created to accompany the Nevada Touring Initiative’s Traveling Exhibition Program, a program of the Nevada Arts Council, a division of the Department of Cultural Affairs and supported by the National Endowment for the Arts. TABLE OF CONTENTS Introduction . .1 – 2 About the Artists and their Prints Von Allen, Untitled, 1993 . .3 Wulf Barsch, I Tego Arcana Dei, 1993 . .3 Connie Borup, Stand of Trees, 1993 . .4 James Christensen, Retirement, 1994 . .4 Paul Davis, Steer, 1993 . .5 Lee Deffebach, Untitled, 1993 . .5 David Dornan, Untitled, 1993 . .6 Brent Gehring, Vision, Language, Water, Earth, Air, Fire, 1992 . .6 Neil Hadlock, Tortue, 1993 . .7 Hagen Haltern, Southern Utah, 1994 . .7 Hal Douglas Himes, Yes, 1993 . .8 Wayne Kimball, A Bearded Man with a Headache This Big, 1994 . .8 Robert Kleinschmidt, Nyarit Seeker II, 1993 . .9 Susan Makov, Lamentation, 1993 . .9 Robert Marshall, Mystery Pool, 1992 . .10 Peter Myer, He Was Cut Off Out of the Land of the Living, 1992 . .10 Edie Roberson, Untitled, 1993 . .11 Janet Shapero, Tethered, 1994 . .11 Bruce Hixson Smith, Bait (The Woman Taken in Adultery), 1993 . .12 Frank Anthony Smith, Chalk, 1993 . .12 Gary Ernest Smith, Guardian, 1993 . .13 Douglas Snow, Untitled, 1994 . .13 Information provided by: Bonnie Sucec, I Remember When This Was a Tree, 1994 . .14 Springville Museum of Art Adrian Van Suchtelen, Vanitas: Vesalius et al, 1994 . .14 Nevada Arts Council Sam Wilson, My Heart Sank Below the Pit in My Stomach, 1993 . .15 Utah Arts Council Utah Artists Project Resources . .15 Out of Print The lithographic, intaglio, and relief prints contained in Out of Print were created specifically for this traveling exhibition and represent the work of 25 of Utah’s finest artists.
    [Show full text]
  • Downloads: Chuck Close Prints: Process and Collaboration by Terrie Sultan with Contributions from Richard Schiff Hardcover
    US $25 The Global Journal of Prints and Ideas July – August 2014 Volume 4, Number 2 On Screenprint • The Theater of Printing • Arturo Herrera • Philippe Apeloig • Jane Kent • Hank Willis Thomas Ryan McGinness • Aldo Crommelynck • Djamel Tatah • Al Taylor • Ray Yoshida • Prix de Print: Ann Aspinwall • News C.G. Boerner is delighted to announce that a selection of recent work by Jane Kent is on view at the International Print Biennale, Hatton Gallery, Newcastle upon Tyne, June 27–August 8, 2014. Jane Kent, Blue Nose, 2013, silkscreen in 9 colors, 67 x 47 cm (26 ⅜ x 18 ½ inches) edition 35, printed and published by Aspinwall Editions, NY 23 East 73rd Street New York, NY 10021 www.cgboerner.com July – August 2014 In This Issue Volume 4, Number 2 Editor-in-Chief Susan Tallman 2 Susan Tallman On Screenprint Associate Publisher Susan Tallman and Michael Ferut 4 Julie Bernatz Screenprint 2014 Managing Editor Jason Urban 11 Dana Johnson Stagecraft: The Theater of Print in a Digital World News Editor Christine Nippe 15 Isabella Kendrick Arturo Herrera in Berlin Manuscript Editor Caitlin Condell 19 Prudence Crowther Type and Transcendence: Philippe Apeloig Online Columnist Sarah Kirk Hanley Treasures from the Vault 23 Mark Pascale Design Director Ray Yoshida: The Secret Screenprints Skip Langer Prix de Print, No. 6 26 Editorial Associate Peter Power Michael Ferut Ann Aspinwall: Fortuny Reviews Elleree Erdos Jane Kent 28 Hank Willis Thomas 30 Ryan McGinness 32 Michael Ferut 33 Hartt, Cordova, Barrow: Three from Threewalls Caitlin Condell 34 Richard Forster’s Littoral Beauties Laurie Hurwitz 35 Aldo Crommelynck Kate McCrickard 39 Djamel Tatah in the Atelier Jaclyn Jacunski On the Cover: Kelley Walker, Bug_156S Paper as Politics and Process 42 (2013-2014), four-color process screenprint John Sparagana Reads the News on aluminum.
    [Show full text]
  • Gyn/Ecology the Metaethics of Radical Feminism
    GYN/ECOLOGY THE METAETHICS OF RADICAL FEMINISM MARY DALY Beacon Press : Boston : 1978 N.B. Transcript omits footnotes and citations. PREFACE This book voyages beyond Beyond God the Father. It is not that I basically disagree with the ideas expressed there. I am still its author, and thus the situation is not comparable to that of The Church and the Second Sex, whose (1968) author I regard as a reformist foresister, and whose work I respectfully refute in the New Feminist Postchristian Introduction to the 1975 edition. Going beyond Beyond God the Father involves two things. First, there is the fact that be-ing continues. Be-ing at home on the road means continuing to Journey. This book continues to Spin on, in other directions/dimensions. It focuses beyond christianity in Other ways. Second, there is some old semantic baggage to be discarded so that Journeyers will be unencumbered by malfunctioning (male-functioning) equipment. There are some words which appeared to be adequate in the early seventies, which feminists later discovered to be false words. Three such words in BGTF which I cannot use again are God, androgyny, and homosexuality. There is no way to remove male/masculine imagery from God. Thus, when writing/speaking “anthropomorphically” of ultimate reality, of the divine spark of be-ing, I now choose to write/speak gynomorphically. I do so because God represents the necrophilia of patriarchy, whereas Goddess affirms the life-loving be-ing of women and nature. The second semantic abomination, androgyny, is a confusing term which I sometimes used in attempting to describe integrity of be-ing.
    [Show full text]
  • Throughout History, Printmaking Processes Have Been
    Throughout history, printmaking processes have been A strong desire to record, preserve and protect a memory is used to reproduce and disseminate ideas by way of books, also in the forefront of Rachel Fenker–Vera’s Notes. In this pamphlets, posters, and even playing cards. Printmaking work, three embroidery hoops made of polished sterling is a rigorous discipline that demands a set of strategies that silver contain linoleum monoprints that depict the familiar will result in the creation of a matrix, which is then used color and shape of post-it notes. Paying close attention to recreate—as identically as possible—the same image to the history of embroidery and using materials traditional multJple times. Within contemporary art practice, the to keepsakes and heirlooms, Fenker–Vera carefully stitches boundaries that once defned printmaking as a utilitarian notes written by her son, now nine years old, collected over reproductive technique have been experimented with, the past three years. Though a monoprint is present, it is the enhanced, modifed, and sometimes even exterminated. scan of the note that becomes the matrix, linking methods Interdisciplinary methods of art-making have created of printmaking with embroidery. These “reminders”— collaborations between mark-making, material, surface, sometimes communicating a message to the recipient and and concept that beg the question: what is a print? other times documenting a process or a “note to self”—are mundane, unpolished and ephemeral. They are records of a In Bad Editions, a series of artists explore the possibilities private dialogue that are reproduced through processes of printmaking as a process, as a philosophy, and as an associated with preservation and continuance; they touch excuse for art-making.
    [Show full text]
  • A Feminist Reading of Ex Machina and Westworld Zoe E
    Bates College SCARAB Honors Theses Capstone Projects 5-2017 Constructing Womanhood and the Female Cyborg: A Feminist Reading of Ex Machina and Westworld Zoe E. Seaman-Grant Bates College, [email protected] Follow this and additional works at: http://scarab.bates.edu/honorstheses Recommended Citation Seaman-Grant, Zoe E., "Constructing Womanhood and the Female Cyborg: A Feminist Reading of Ex Machina and Westworld" (2017). Honors Theses. 202. http://scarab.bates.edu/honorstheses/202 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. Constructing Womanhood and the Female Cyborg: A Feminist Reading of Ex Machina and Westworld An Honors Thesis Presented to the Faculty of the Department of Women and Gender Studies Bates College In partial fulfillment for the Degree of Bachelor of Arts Zoë Seaman-Grant Lewiston, ME March 24, 2017 ii Acknowledgements I would like to thank my advisor, Eden Osucha, for her advice, support, and patience throughout this year. I am especially thankful for her constantly pushing me to explore new perspectives and offering her own, incredibly insightful, thoughts on this project. I would have never decided to write a chapter on Westworld without her. Many thanks to Rebecca Herzig for her insights on how to organize a project of this size and her academic and emotional support throughout this process. Thank you to Erica Rand for pushing me to narrow down my topic, sending me interesting and useful articles, and for serving on my panel.
    [Show full text]
  • Techniques of Printmaking
    Techniques of printmaking. BLOCK PRINTING WOOD CUT Woodblock printing, known as xylography today, was the first method of printing applied to a paper medium. It became widely used throughout East Asia both as a method for printing on textiles and later, under the influence of Buddhism, on paper. As a method of printing on cloth, the earliest surviving examples from China date to about 220. Ukiyo-e is the best known type of Japanese woodblock art print. Most European uses of the technique on paper are covered by the term woodcut, except for the block-books produced mainly in the fifteenth century. Book illustration of the Durer, Four Horsemen of the Apocalypse Hortus Sanitatis lapidary c1496 Woodcut. Technique Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print. The block is cut along the wood grain (unlike wood engraving, where the block is cut in the end-grain). The surface is covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface but not in the non-printing areas. Flat bed Printer. For colour printing, multiple blocks are used, each for one colour, although overprinting two colours may produce further colours on the print. Multiple colours can be printed by keying the paper to a frame around the woodblocks.
    [Show full text]
  • Basic Printmaking
    California State University, San Bernardino CSUSB ScholarWorks Curricula Curriculum Archive Summer 2015 Basic Printmaking Brandon Scott Follow this and additional works at: https://scholarworks.lib.csusb.edu/cap-curr Part of the Art and Design Commons, Art Education Commons, and the Art Practice Commons Recommended Citation Scott, Brandon, "Basic Printmaking" (2015). Curricula. 13. https://scholarworks.lib.csusb.edu/cap-curr/13 This Community-Based Art Curricula is brought to you for free and open access by the Curriculum Archive at CSUSB ScholarWorks. It has been accepted for inclusion in Curricula by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. CSUSB Community-Based Art Summer 2015 Pilot BASIC PRINTMAKING *Note: this schedule may change due to any unforeseen circumstances and will be flexible to allow these changes** Week 1. (Additive) MONOPRINT 8/22 Week 2. (Subtractive) MONOPRINT 8/29 Week 3. TRACE MONOPRINT 9/5 Week 4. RELIEF PRINTS 9/12 Week 5. CHINE COLLE 9/19 Week 6. REDUCTION PRINTS 9/26 Week 7. Re-Work Monoprints / Combine With Relief 10/3 Week 8. SIMPLE SILKSCREEN PREP. 10/10 Week 9. SIMPLE SILKSCREEN 10/17 Week 10. Critique 10/24 VOCABULARY: Printmaking- the art or technique of making prints, especially as practiced in 4 main processes: Relief, Intaglio, Lithography, and Serigraphy. - A - artist’s proof A print of edition quality, but separate from the numbered edition that is kept by the artist. - B - bleed print A print having an image that extends to the edges of the paper. blend roll Also called rainbow roll or split fountain.
    [Show full text]
  • Cogitania Part 2
    PRINT Lithography Emboss Monotype Etching MAKINGEngraving Woodcut Linocut Silkscreen Monotyping is a type of printmaking made by drawing or painting on a smooth, non-absorbent surface. The surface, or matrix, was historically a copper etching plate, but in contemporary work it can vary from zinc or glass to acrylic glass. The image is then transferred onto a sheet of paper by pressing the two together, usually using a printing-press. Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio (incised) in the metal. Durer. Melencolia I, 1514, engraving Durer from The Apocalypse Woodcut, 1498 Karl Schmidt-Rottluff, (German, 1884-1976), Young woman with pigtails Original woodcut, 1917 Lithography originally used an image drawn with oil, fat, or wax onto the surface of a smooth, level lithographic limestone plate. The stone was treated with a mixture of acid and gum arabic, etching the portions of the stone that were not protected by the grease-based image. When the stone was subsequently moistened, these etched areas retained water; an oil-based ink could then be applied and would be repelled by the water, sticking only to the original drawing. The ink would finally be transferred to a blank paper sheet, producing a printed page. This traditional technique is still used in some fine art printmaking applications. Ernst Ludwig Kirchner (German, 1880-1938), Portrait of Carl Sternheim , Lithograph STENCIL MINERAL SPIRITS Turpentine tree A mixture of aliphatic, open-chain or alicyclic C7 to C12 hydrocarbons, white spirit is insoluble in water and is used as an extraction solvent, as a cleaning solvent, as a degreasing solvent and as a solvent in aerosols, paints, wood preservatives, lacquers, varnishes, and asphalt products.
    [Show full text]