TODAY students get a demonstration on options for editioning their prints. The brief demonstration included a history of why prints were editioned, formatting, and terminology.
1/22 or 17/22, these # don't necessarily represent the order in which they were printed. However, the second number represents the number of prints in an artists run and the first notes the edition to the run of prints.
WP = Working Proof
:something within or from which something else originates, develops, or takes form
:an engraved or inscribed die or stamp
:something (such as a situation or a set of conditions) in which something else develops or forms
: something shaped like a pattern of lines and spaces
: a container that can be filled with a material (such as very hot metal) to give the material a new shape
IT is the catalyst from which sprung modern civilization. It is communication. It is a record of events. It is written language. It is ancient.
Today Elizabeth gave a brief but interesting history of print. She covered the idea of the print matrix and how imagery can be generated through many media and means. Students were verbally introduced to the invention of papers followed by print relief, movable type, intaglio (engraving and etching), collograph, photo-etching, lithography, and finally screen printing or serigraph. Hopefully it all sinks in.
This morning Silhouette prints are returned with a grading rubric.
Students then follow Elizabeth through the screen stripping process, the use of Drawing Fluid and Screen Filler. Techniques are thoroughly illustrated in the hour fifteen minute demonstration. Though much of the class time is consumed in the demonstration process it is essential to having successful results. Without the layering of these techniques and demonstrations assignments would be very hard to complete.
The "Wallpaper" assignment is introduced as well as new terms such as Split fountain, and how to achieve this effect, color shifts, axis of orientation, tiling, and multiples; and tools/materials: registration pins, double sided adhesive, Bristol board.
Specific demonstration of the desired results is conveyed through very adequate PP presentation in which artist such as Andy Warhol, John Baldessari, Renee Green, Yinka Shonibare, and Virgil Warti are given as prime examples of what effects can be achieved using this process. Successful past student work is also shown. Unsuccessful student work is only given as an example of how little effort makes little result.
A physical demonstration using register pins, paper cropping, and alignment techniques are reiterated.
Additionally, instruction is given on how to create a field of color using single sided sticky transparent sheet and freezer paper.
Students continue to explore.
Developing printing techniques through process:
Layering light to dark or dark to light.
Exploring context and color.
Mistakes become learning experiences that wont be soon forgotten.
A technical breakdown of students first assignment is held in critique fashion kicked off our morning.
Today students brought their first drafts of prints to be inspected and critiqued. We talked about the challenges and successes of the first step in printmaking and how students can improve their printing techniques. We noted the successes of the imagery students came up with and how their initial silhouette can be worked to create a potential narrative.
Prof. Dove then followed up the critique with a technical demonstration of painting out, or reducing the image on the screen, to develop layers of color. This next step in the reductive print process can be achieved using a screen filler which is painted-or applied in any fashion really- directly onto the screen to reduce the amount of printable area within the image.
This technique can really create awesome results.
My first impression of printmaking is that of frustration. I initially found myself challenged by the seemingly tedious process by which prints are actually made and the impeccable and repetitive results. Little did I realize that, as with all forms of image transfer, there are subtle techniques and tricks to vary individuals results dramatically. Printmaking, though being a somewhat mechanical and repetitious media, can be just as mutable and individual as painting or ceramics.
The first project introduced allows the student to develop technique and consistency while still giving them the freedom to experiment and venture into content based work. It consists of finding a silhouetted object. Anything, really, and printing it on any paper-like media available such as, papers, cloth, plastic, wood, or magazine, to name a few. This wide scope of materials, layered with their imagery, is not only a good technical building formula but also allows the student to challenge themselves conceptually by juxtaposing their image with various materials thus changing or enhancing there meanings with out them even really knowing!
Here we are, the first day of studio lab, working through the technical details of printmaking.
First, students design or find their silhouette. This image is then transferred, via photocopy or opaque paint pen, to a transparent sheet of acetate or other transparent paper-like material.
Students prepare their screens mixing the 2 part Diazo -the product that will resist printing pigments- and then apply it to the screen. After this the screen must dry for at least an hour in a light free environment.
Next, students learn how to use the UV exposing machines- basically a large light box in which the Diazo emulsion is 'set' or polymerized onto the screen -this process includes the careful placement or arrangement of the students silhouette on the screen itself. The exposure process can also be accomplished using sunlight/natural light in a similar manner.
Screens are exposed to ultraviolet light -for a short amount of time, approx. 30 seconds- during this time, the light sensitive Diazo polymerizes, permanently adhering itself to the screen.
Where the opaque image -applied to the transparent paper- sits, light doesn't reach, and the Diazo is not polymerized and will next be washed out of the screen.
After exposure to ultraviolet light the screen is then rinsed thoroughly with water. This rinsing reveals the image and is now a point in the screen that will allow the passage of inks.
The screen is now set to dry. Once dry, it can be used to print!
Of course there are always issues and small details with transferring imagery to the screen and eventually to the paper, these are worked out as they come up as they are very numerous.
Choosing paper/ground for the print: Eastern or Western fiber? Cloth? Metal?Whaaa?
Setting up your screen!