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Printmaking and Photo

3700411ae81a5ba151f9946dcb59c386?s=47 nichsara
February 07, 2013
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Printmaking and Photo

3700411ae81a5ba151f9946dcb59c386?s=128

nichsara

February 07, 2013
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  1. The  Processes  of  Mass  Produc/on:   Printmaking  and  Photography  

    Reading:   Ar,orms,  105-­‐132     Terms/Concepts:     print,  matrix,  edi/on,  ar/st’s   proof,  relief,  woodcut,   registered,  wood  engraving,   linoleum  cut,  intaglio,   engraving,  burin,  etching,   aqua/nt,  drypoint,   lithography,  tusche,  stencil,   screenprin/ng,  photo  screen,     heliotype,  daguerreotype,   photograph,  developer,  plate,   film,  kodachrome,    “straight   photography”  
  2. Quiz  #2  is  due  Tuesday  February  19th.     Media

     Experimenta/on  is  due  Thursday   February  21st.     Your  Midterm  is  on  Thursday  February  28th.     Study  guide  will  be  released  next  Thursday   Reminders  
  3. Media  Lab   •  Friday  February  8  11:00-­‐3:00  Auraria  Library

     206   •  Friday  February  15  11:00-­‐3:00  Auraria  Library  206   •  Tuesday  February  19  2:00-­‐5:30  Auraria  Library  205     Materials  available:  oil  pastel,  chalk  pastel,  pen  &  ink,   pencil,  colored  pencil,  charcoal,  watercolor,  oil  paint,   and  acrylic  paint.  
  4. What  is  printmaking?   "...broadly,  the  produc/on  of  images  normally

     on  paper  and   excep/onally  on  fabric,  parchment,  plas/c  or  other  support  by   various  processes  of  mul/plica/on;  more  narrowly,  the  making  and   prin/ng  of  graphic  works  by  hand  or  under  the  supervision  of  the   ar/st.”  –Encyclopedia  Britannica   print·∙mak·∙ing   noun  \-­‐ˌmā-­‐kiŋ\   1:  the  design  and  produc/on  of  prints  by  an  ar/st    
  5. Basic  Components  of  Printmaking   Matrix   Surface   +

      Ink   +   Print   =  
  6. Relief   Woodcut   Linocut   is  the  process  of

     making  a  print  with  a  matrix  where   the  non-­‐image  area  (nega/ve  space)  is  cut  away  and   the  image  area  (posi/ve  space)  is  lej  raised.  
  7. 1.    Removing  the  ground.  

  8. 2.  Inking  the  Cut  

  9. 3.    Prin/ng  the  cut  onto  your  surface  

  10. Emil  Nolde,  Prophet,  1912,  Woodcut,  12   1/2”  X  8

     13/16”   *   Areas  of  high   contrast;  values   cannot  really  be   blended.   Strong   Raw   Powerful   Intense   Rough   *
  11. Rockwell  Kent,  Workers  of  the  World   Unite,  1937,  woodcut

     print,  8”  X  5  1/8”   *   *   Areas  of  high   contrast   Delicate  lines   *   Distance   between  lines   simulates   modulated   chiaroscuro.   *   Less  white  =   Fewer  areas   gouged  out  
  12. Katsushika  Hokusai,  The  Wave,  from  1000  Views  of  Mt.  Fuji,

     1830,  color   woodblock  print*,  10  1/4”  X  15  1/8”     *  To  add  different  blocks  of  unblended  color,  mul;ple  woodcuts  are  used—one  for  each  color.     They  are  registered  (lined  up)  to  ensure  that  the  blocks  are  correctly  placed.    
  13. Intalgio   Engraved  plate  using  drypoint   Prepped  plates  about

     to  be   etched   is  a  printmaking  process  that  transfers  the  images  via  the  areas  that  are   cut  away,  not  the  raised  areas  (the  opposite  of  relief  prin/ng).  
  14. 1a  The  Plate:  Engraving   Burins   Engraving  a  plate

      Burr   is  simply  crea/ng  burrs  (or  troughs  where  the  ink  seyles)  by   engraving  into  the  metal  plate.  
  15. 1b  Plate:  Etching   Applying  the  ground   1.  

    Smoking  the  plate   2.   Making  the  image   3.   Making  the  etch   4.   Cleaning  the  plate   5.   6.   Finished  plate  
  16. 2.  Inking  the  Plate       1.   Inking

     the  plate   2.   Removing  excess  ink  
  17. Applying  paper  to  plate   1.   3.  Making  the

     Print   Running  press  over  plate   2.   Finished  print   3.  
  18. Albrecht  Durer,  The  Knight,  Death  and  the  Devil,   1513,

     Engraving,  9  5/8”  X  7  1/2"   *   *   more  delicate   details  than   woodcuts   less    drama/c   contrasts   complex   subtle   detailed   fine  
  19. Rembrandt  Harmensz  van  Rijn,  Christ  Preaching,  1652,  Etching,  61  1/4”

     X  8  1/8”   *   Etching  with  acid  creates   consistent  depth  of  lines.   *   More  subtle  shading   effects  are  possible   with  etching.  
  20. Mary  Cassay,  The  Leyer,  drypoint,  soj  ground   etching,  and

     aqua/nt,  13  5/8”  X  8  15/16”   *   Aqua/nt   *   Drypoint   *   mul/media    
  21. Lithography   is  a  printmaking  process  that  transfers  the  image

     via  a  stone,   working  with  the  natural  resistance  between  oil  and  water.  
  22. 1.    Draw  on  the  Stone   This  process  is

     also  called  greasing  the  stone  
  23. 2.    Treat  the  Stone   Trea/ng  with  gum  arabic

      1.   Trea/ng  with  acid   2.   Cooling  the  stone   3.   Removing  the  material   4.   Applying  Asphaltum   5.   Wezng  the  stone   6.   *   Ghost  Image  
  24. 3.  Prin/ng   Wezng  the  Stone   1.   Inking

     the  Stone   2.   Rewezng  the  Stone   3.   Applying  the  Paper   4.   Prin/ng   5.   Finished  Print   6.  
  25. Honore  Daumier,  Rue  Transnonain  April  15,  1834,  1834,  Lithograph,  28.6

     cm  X  44  cm.   *   Replica/on  of  drawing   marks  and  techniques   *  Subtle  grada/ons,  not  reliant  on   sharp  contour  lines  
  26. Henri  de  Toulouse-­‐Lautrec,  Jane  Avril,  1893,   Lithograph  in  five

     colors,  50  5/8”  X  37”   *   Mul/-­‐color   technique  used   mul/ple  stones  
  27. Silkscreen   or  screenprin/ng  is  a  process  where  a  print

     is  made  by   forcing  ink  through  porous  fabric,  ojen  through  or   around  a  stencil.    
  28. 1.  Screen   Choose  porous  fabric   1.   Stretch

     and  staple  screen   2.   Seal  screen   3.   Finished  screen   4.  
  29. 2.  Stencil   Apply  Emulsion   1.   Place  Image

      2.   Expose  to  light   3.   Rinse  screen   4.   Photographic   Block  Out   Apply  glue  around   image   1.   Let  dry   2.   Cut  Out   Cut  image   1.   Remove  excess   2.   Finished  screen   3.  
  30. 3.  Prin/ng   Spread  ink  with  squeegee   2.  

    Finished  Print   3.   Posi/on  paper   1.  
  31. Andy  Warhol,  Marilyn  Diptych,  1962,  oil,  acrylic  and  silkscreen  on

     canvas,  80  4/5”  X   57”         mul$ple  screens  were   used  to  create  different   colors   *   Screens  do  not  print  the  same  way   a6er  many  repe$$ons.   This  work  shows  how  the  image   degrades  a6er  repeated  use.   *  
  32. Ester  Hernandez,  Sun  Mad,  1982,  Silkscreen,   22”  X  17”

      *   Sharp  contrast   between  different   fields  of  color.     Evidence  of   mul/ple  screens.   *   Printmaking  methods   were  used   commercially  for   packaging  and   adver/sements.   *  
  33. What  is  photography?   Literally:  Light  (Photo)  Drawing  (Graphy)  

    the  art  or  process  of  producing  images  by  the   ac/on  of  radiant  energy  and  especially  light   on  a  sensi/ve  surface  –Miriam  Webster   PHOTOGRAPH,  n.  A  picture  painted  by  the  sun  without  instruc/on  in   art.  It  is  a  liyle  beyer  than  the  work  of  an  Apache,  but  not  quite  so   good  as  that  of  a  Cheyenne.  –Ambrose  Bierce,  The  Devil’s  Dic;onary  
  34. Joseph  Nicephore  Niepce,  View  from  the  Window  at  Le  Gras,

     1826,  Heliographic   Engraving  (Niepce)  
  35. Louis  Jacques  Mande  Daguerre,  Le  Boulevard  du  Temple,  1839,  Daguerreotype.

     
  36. Julia  Margaret  Cameron,  Julia  Jackson,  March   1886,  Albumen  silver

     print  from  wet-­‐collodion   glass  nega/ve,  13  1/4”  X  11”  
  37. Early  Processes   Prepping  the  Plate   Taking  the  Exposure

      Developing  the  Exposure  
  38. Early  Processes   Prepping  the  Plate   Taking  the  Exposure

      Developing  the  Exposure  
  39. Early  Processes   Prepping  the  Plate   Taking  the  Exposure

      Developing  the  Exposure  
  40. Early  Posing  Chair,  mid-­‐19th   century.   Diagram  of  early

     posing  tool,  mid-­‐19th   century  
  41. Inven/on  of  Film   *   George  Eastman  invented  rolled

      photographic  film  in  1889.   Kodak  Brownie  Junior  Box  Camera.  c.  1933  
  42. Alfred  S/eglitz,  The  Fla;ron   Building  from  Camera  Work,  

    October  1903,  Gravure  on   vellum.    
  43. Coloring  Photos  

  44. Young  Women  in  Geisha  Garb,  Late  19th  Century-­‐Early  20th  Century,

     Hand-­‐ Painted  Tintype    
  45. Cypress  Gardens  Postcard,    1957,  Kodachrome  Photograph.   Kodachrome  was

     first  released  in  1935   *  
  46. Circula/ng  the  Image/Message   Honore  Daumier,  Rue  Transnonain  April  15,

     1834,  1834,  Lithograph,  28.6  cm  X  44  cm.  
  47. Circula/ng  the  Image/Message   Margaret  Bourke-­‐White.    Louisville  Flood  Vic;ms.

     1938.  Photograph.  
  48. Ansel  Adams,  Clearing  Winter  Storm,  Yosemite  Na;onal   Park,  California,

     1944,  Photograph.   Circula/ng  the  Image/Message  
  49. Experimen/ng  with  the  Medium   Man  Ray,  Rayograph,  1927,  Gela/n

      Silver  Print,  11  9/20”  X  9  1/10”     Elizabeth  Murray,  Exile  from  Thirty-­‐ Eight,  1993,  23  color  lithograph/ screenprint  construc/on  with  unique   pastel  applica/on  by  the  ar/st.  
  50. Medium  as  Meaning   Andy  Warhol,  Marilyn  Diptych,  1962,  oil,

     acrylic  and  silkscreen  on  canvas,  80   4/5”  X  57”