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Contact : art and the pull of print
A leading art historian presents a new grammar for understanding the meaning and significance of print: In process and technique, printmaking is an art of physical contact. From woodcut and engraving to lithography and screenprinting, every print is the record of a contact event: the transfer of an image between surfaces, under pressure, followed by release. Contact reveals how the physical properties of print have their own poetics and politics and provides a new framework for understanding the intelligence and continuing relevance of printmaking today. The seemingly simple physics of printmaking brings with it an array of metamorphoses that give expression to many of the social and conceptual concerns at the heart of modern and contemporary art. Exploring transformations such as reversal, separation, and interference, Jennifer Roberts explores these dynamics in the work of Christiane Baumgartner, David Hammons, Edgar Heap of Birds, Jasper Johns, Corita Kent, Glenn Ligon, Julie Mehretu, Robert Rauschenberg, and many other leading artists who work at the edge of the medium and beyond. Focusing on the material and spatial transformations of the printmaking process rather than its reproducibility, this beautifully illustrated book explores the connections between print, painting, and sculpture, but also between the fine arts, industrial arts, decorative arts, and domestic arts. Throughout, Roberts asks what artists are learning from print, and what we, in turn, can learn from them.
BOOK
Perspectives on contemporary printmaking
This anthology, the first of its kind, presents thirty-two texts on contemporary prints and printmaking written from the mid-1980s to the present by authors from across the world. The texts range from history and criticism to creative writing. More than a general survey, they provide a critical topography of artistic printmaking during the period. The book is directed at an audience of international stakeholders in the field of contemporary print, printmaking and printmedia, including art students, practising artists, museum curators, critics, educationalists, print publishers and print scholars. It expands debate in the field and will act as a starting point for further research.
eBook
If you can cut, you can collage : from paper scraps to works of art
\"Collage is a wonderful creative outlet, particularly for people who want to make art, but don't feel they have the skills, or confidence, for other endeavors. You can still explore and experiment with color, composition, and various themes and end up with exciting and often unexpected results.
If you Can Cut, You Can Collage takes some of the mystery out of collage through easy illustrated pages that show readers the basic techniques of collecting and cutting imagery, composing and adhering compositions, and then provides a wealth of exercises that get readers going on their own creative projects.
We'll get you started with simple, focused, projects like making a collage with only circles, where you'll learn important concepts like how to create a focal point, how to use repetition successfully, how to achieve contrast, balance, symmetry, and more. You'll be incorporating vintage ephemera, typography and lettering, and even urban and found materials in no time!\"-- Provided by publisher.
If you Can Cut, You Can Collage takes some of the mystery out of collage through easy illustrated pages that show readers the basic techniques of collecting and cutting imagery, composing and adhering compositions, and then provides a wealth of exercises that get readers going on their own creative projects.
We'll get you started with simple, focused, projects like making a collage with only circles, where you'll learn important concepts like how to create a focal point, how to use repetition successfully, how to achieve contrast, balance, symmetry, and more. You'll be incorporating vintage ephemera, typography and lettering, and even urban and found materials in no time!\"-- Provided by publisher.
Book
Photomechanical crossroads - Comparing 19th-Century Chromocupography and Charles Eckstein’s method from a Printmaker’s Perspective
Chromocupography is a photo-etching technique developed in 19th-century Portugal under the supervision of chemist José Júlio Rodrigues (1843-1923). Very scarce literature is associated with the process, and it doesn’t seem to have been widely used after being made public. At the time, the technique was presented as a variant of Charles Eckstein’s (1840-1913) method, working in Hague, Holland. Eckstein’s technique consisted of hatching the lithograph stone with very fine delicate multiple-point needles to produce tone variations. Chromocupography substitutes the stone for a copper plate and the needles for a special coating with resin, thus creating a granular reservation protecting the metal from the etching bath. With this paper, we aim to present how the technical entanglements which are felt from a practical experience of the contemporary printmaker. We will be showing the various results we obtained conducting research following the descriptions found in literature around the subject of Portuguese process chromocupography, at the Faculty of Fine Arts of the University of Porto within the project of Pure Print Archaeology (i2ADS/FBAUP).
Journal Article
Printed Electronics as Prepared by Inkjet Printing
Inkjet printing has been used to produce a range of printed electronic devices, such as solar panels, sensors, and transistors. This article discusses inkjet printing and its employment in the field of printed electronics. First, printing as a field is introduced before focusing on inkjet printing. The materials that can be employed as inks are then introduced, leading to an overview of wetting, which explains the influences that determine print morphology. The article considers how the printing parameters can affect device performance and how one can account for these influences. The article concludes with a discussion on adhesion. The aim is to illustrate that the factors chosen in the fabrication process, such as dot spacing and sintering conditions, will influence the performance of the device.
Journal Article
Rembrandt and his Circle
This collection brings together art historians, museum professionals, conservators, and conservation scientists whose work involves Rembrandt van Rijn and associated artists such as Gerrit Dou, Jan Lievens, and Ferdinand Bol.
eBook
Experiments and traditions in Ukrainian contemporary printmaking
The article covers the phenomenon of synthesis of traditions and innovations in contemporary Ukrainian printmaking. The trends of today's art of circulation graphic arts in Ukraine, novelty, tools of artists of the new generation are considered. The problem of danger of classical techniques disappearing due to strengthening of C.A.D. positions is raised. Attention is focused on ways to preserve classical traditions using the example of intaglio techniques: etching, mezzo-tint, aquatint, dry point. The main trends in the existence of these techniques and ways of their preservation in various combinations are analysed. Work of the most distinctive schools (Lviv, Kyiv, Odesa), their brightest representatives who use traditional intaglio techniques, combining them, experimenting with technology, materials, creating new variations of traditional techniques, is covered. Attention is focused on the work of the Lviv school representative Oleh Denysenko who patented a new technique he invented, “gesography”, which became the most important tool in the process of preserving printmaking, in the modern artistic field and transforming it into an updated stronghold of fine arts of modern times.
Journal Article
The role of 3D printing in original printmaking and graphic production
This study explores the functional role of 3D printers in original printmaking, a graphic production technique. Traditional methods like linocut, engraving, and intaglio have limited integration with modern digital manufacturing technologies. This research examines how 3D printers can be effectively combined with these techniques. The main goal is to show how 3D printing can be integrated into the printmaking process and what benefits it brings to design and production. The study focuses on converting digitally designed models into physical printing plates via 3D printing, highlighting how this enables the creation of complex surfaces and detailed forms difficult to achieve traditionally. This offers designers both creative freedom and tech-nical advantages. Additionally, the research discusses how digital design and customization of printing plates and stencils improve flexibility, speed, and cost-efficiency in printmaking. Especially in linocut and engraving, the precision, scalability, and detail of 3D printing introduce new production paradigms. In conclusion, the study shows that 3D printers are not only technical tools but also creative elements transforming graphic production in original printmaking, providing artists and designers new opportuni-ties to exceed traditional boundaries and expand artistic expression.
Journal Article