printmaking and photo upload
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The Processes of Mass Production: Printmaking and Photography
Reading:Artforms, 105-132
Terms/Concepts: print, matrix, edition, artist’s proof, relief, woodcut, registered, wood engraving, linoleum cut, intaglio, engraving, burin, etching, aquatint, drypoint, lithography, tusche, stencil, screenprinting, photo screen,
heliotype, daguerreotype, photograph, developer, plate, film, kodachrome, “straight photography”
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What is printmaking?
"...broadly, the production of images normally on paper and exceptionally on fabric, parchment, plastic or other support by various processes of multiplication; more narrowly, the making and printing of graphic works by hand or under the supervision of the artist.” –Encyclopedia Britannica
print·mak·ingnoun \-ˌmā-kiŋ\1: the design and production of prints by an artist
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Basic Components of Printmaking
Matrix Surface
+
Ink
+
=
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Relief
Woodcut Linocut
is the process of making a print with a matrix where the non-image area (negative space) is cut away and the image area (positive space) is left raised.
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1. Removing the ground.
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2. Inking the Cut
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3. Printing the cut onto your surface
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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
*
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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
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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, multiple woodcuts are used—one for each color. They are registered (lined up) to ensure that the blocks are correctly placed.
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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 printing).
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1a The Plate: Engraving
Burins
Engraving a plate
Burr
is simply creating burrs (or troughs where the ink settles) by engraving into the metal plate.
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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
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2. Inking the Plate 1.
Inking the plate
2.
Removing excess ink
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Applying paper to plate
1.
3. Making the Print
Running press over plate
2.
Finished print
3.
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Albrecht Durer, The Knight, Death and the Devil, 1513, Engraving, 9 5/8” X 7 1/2"
**
more delicate details than woodcuts
less dramatic contrasts
complex
subtle
detailed
fine
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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.
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Mary Cassatt, The Letter, drypoint, soft ground etching, and aquatint, 13 5/8” X 8 15/16”
*Aquatint
*Drypoint
*multimedia
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Lithography
is a printmaking process that transfers the image via a stone, working with the natural resistance between oil and water.
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1. Draw on the Stone
*This process is also called greasing the stone
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2. Treat the Stone
Treating with gum arabic
1.
Treating with acid
2.
Cooling the stone
3.
Removing the material
4.
Applying Asphaltum
5.
Wetting the stone
6.
*Ghost Image*
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3. Printing
Wetting the Stone
1.
Inking the Stone
2.
Rewetting the Stone
3.
Applying the Paper
4.
Printing
5.
Finished Print
6.
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Honore Daumier, Rue Transnonain April 15, 1834, 1834, Lithograph, 28.6 cm X 44 cm.
*Replication of drawing marks and techniques
*Subtle gradations, not reliant on sharp contour lines
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Henri de Toulouse-Lautrec, Jane Avril, 1893, Lithograph in five colors, 50 5/8” X 37”
*Multi-color technique used multiple stones
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Silkscreen
or screenprinting is a process where a print is made by forcing ink through porous fabric, often through or around a stencil.
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1. Screen
Choose porous fabric
1.
Stretch and staple screen
2.
Seal screen
3.
Finished screen
4.
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2. Stencil
Apply Emulsion
1.
Place Image
2.
Expose to light
3.
Rinse screen
4.
Phot
ogra
phic
Bloc
k O
ut
Apply glue around image
1.
Let dry
2.
Cut O
ut
Cut image
1.
Remove excess
2.
Finished screen
3.
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3. Printing
Spread ink with squeegee
2.
Finished Print
3.
Position paper
1.
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Andy Warhol, Marilyn Diptych, 1962, oil, acrylic and silkscreen on canvas, 80 4/5” X 57”
multiple screens were used to create different colors
*
Screens do not print the same way after many repetitions.This work shows how the image degrades after repeated use.
*
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Ester Hernandez, Sun Mad, 1982, Silkscreen, 22” X 17”
*Sharp contrast between different fields of color. Evidence of multiple screens.
Printmaking methods were used commercially for packaging and advertisements.
* *
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What is photography?
Literally: Light (Photo) Drawing (Graphy)
the art or process of producing images by the action of radiant energy and especially light on a sensitive surface –Miriam Webster
PHOTOGRAPH, n. A picture painted by the sun without instruction in art. It is a little better than the work of an Apache, but not quite so good as that of a Cheyenne. –Ambrose Bierce, The Devil’s Dictionary
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Joseph Nicephore Niepce, View from the Window at Le Gras, 1826, Heliographic Engraving (Niepce)
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Louis Jacques Mande Daguerre, Le Boulevard du Temple, 1839, Daguerreotype.
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Julia Margaret Cameron, Julia Jackson, March 1886, Albumen silver print from wet-collodion glass negative, 13 1/4” X 11”
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Early Processes
Prepping the Plate Taking the Exposure Developing the Exposure
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Early Processes
Prepping the Plate Taking the Exposure Developing the Exposure
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Early Processes
Prepping the Plate Taking the Exposure Developing the Exposure
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Early Posing Chair, mid-19th century.
Diagram of early posing tool, mid-19th century
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Invention of Film
*George Eastman invented rolled photographic film in 1889.
Kodak Brownie Junior Box Camera. c. 1933
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Alfred Stieglitz, The Flatiron Building from Camera Work, October 1903, Gravure on vellum.
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Coloring Photos
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Young Women in Geisha Garb, Late 19th Century-Early 20th Century, Hand-Painted Tintype
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Cypress Gardens Postcard, 1957, Kodachrome Photograph.
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Circulating the Image/Message
Honore Daumier, Rue Transnonain April 15, 1834, 1834, Lithograph, 28.6 cm X 44 cm.
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Circulating the Image/Message
Margaret Bourke-White. Louisville Flood Victims. 1938. Photograph.
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Ansel Adams, Clearing Winter Storm, Yosemite National Park, California, 1944, Photograph.
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Experimenting with the Medium
Man Ray, Rayograph, 1927, Gelatin Silver Print, 11 9/20” X 9 1/10”
Elizabeth Murray, Exile from Thirty-Eight, 1993, 23 color lithograph/screenprint construction with unique pastel application by the artist.
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Medium as Meaning
Andy Warhol, Marilyn Diptych, 1962, oil, acrylic and silkscreen on canvas, 80 4/5” X 57”