2. What is printmaking? print·mak·ing noun ˌmā-kiŋbr />1: the design and production of prints by an artist "...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
4. 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.
8. * * Areas of high contrast; values cannot really be blended. Strong Raw Powerful Intense Rough Emil Nolde, Prophet, 1912, Woodcut, 12 1/2” X 8 13/16”
9. Distance between lines simulates modulated chiaroscuro. * * * Areas of high contrast Delicate lines * Less white = Fewer areas gouged out Rockwell Kent, Workers of the World Unite, 1937, woodcut print, 8” X 5 1/8”
10. 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.
11. 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).
12. 1a The Plate: Engraving Burr Burins Engraving a plate is simply creating burrs (or troughs where the ink settles) by engraving into the metal plate.
13. 1b Plate: Etching 1. 2. Applying the ground Smoking the plate 3. 4. 5. 6. Making the image Making the etch Cleaning the plate Finished plate
14. 2. Inking the Plate 1. Inking the plate 2. Removing excess ink
15. 1. Applying paper to plate 3. Making the Print 2. 3. Running press over plate Finished print
16. * * less dramatic contrasts more delicate details than woodcuts complex subtle detailed fine Albrecht Durer, The Knight, Death and the Devil, 1513, Engraving, 9 5/8” X 7 1/2"
17. * Etching with acid creates consistent depth of lines. * More subtle shading effects are possible with etching. Rembrandt Harmensz van Rijn, Christ Preaching, 1652, Etching, 61 1/4” X 8 1/8”
18. * multimedia * Drypoint * Aquatint Mary Cassatt, The Letter, drypoint, soft ground etching, and aquatint, 13 5/8” X 8 15/16”
19. Lithography is a printmaking process that transfers the image via a stone, working with the natural resistance between oil and water.
20. 1. Draw on the Stone * This process is also called greasing the stone
21. 2. Treat the Stone 2. 1. Treating with acid Treating with gum arabic 4. 3. 5. 6. * Cooling the stone Removing the material Wetting the stone Applying Asphaltum * Ghost Image
22. 3. Printing 1. 2. Wetting the Stone Inking the Stone 3. 4. 6. 5. Rewetting the Stone Applying the Paper Printing Finished Print
23. * Replication of drawing marks and techniques * Subtle gradations, not reliant on sharp contour lines Honore Daumier, Rue TransnonainApril 15, 1834, 1834, Lithograph, 28.6 cm X 44 cm.
24. * Multi-color technique used multiple stones Henri de Toulouse-Lautrec, Jane Avril, 1893, Lithograph in five colors, 50 5/8” X 37”
25. Silkscreen or screenprinting is a process where a print is made by forcing ink through porous fabric, often through or around a stencil.
26. 1. Screen 1. 2. Choose porous fabric Stretch and staple screen 3. 4. Seal screen Finished screen
27. 2. Stencil 4. 2. 1. 3. Cut Out 1. 2. Rinse screen Block Out Expose to light Apply Emulsion Place Image Apply glue around image Let dry 1. 2. 3. Photographic Cut image Remove excess Finished screen
28. 3. Printing 2. 1. Spread ink with squeegee Position paper 3. Finished Print
29. * 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. Andy Warhol, Marilyn Diptych, 1962, oil, acrylic and silkscreen on canvas, 80 4/5” X 57”
30. * Sharp contrast between different fields of color. Evidence of multiple screens. * * Printmaking methods were used commercially for packaging and advertisements. Ester Hernandez, Sun Mad, 1982, Silkscreen, 22” X 17”
31. What is photography? Literally: Light (Photo) Writing (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
46. Ansel Adams, Clearing Winter Storm, Yosemite National Park, California, 1944, Photograph.
47. Experimenting with the Medium Elizabeth Murray, Exile from Thirty-Eight, 1993, 23 color lithograph/screenprint construction with unique pastel application by the artist. Man Ray, Rayograph, 1927, Gelatin Silver Print, 11 9/20” X 9 1/10”
48. Medium as Meaning Andy Warhol, Marilyn Diptych, 1962, oil, acrylic and silkscreen on canvas, 80 4/5” X 57”
Hinweis der Redaktion
Intagliare = to cut into
The first permanent photograph (later accidentally destroyed) was an image produced in 1822 by the French inventor Joseph NicéphoreNiépce. His photographs were produced on a polished pewter plate covered with a petroleum derivative called bitumen of Judea. View from the Window at Le Gras (La cour du domaine du Gras) was the first successful permanent photograph, created by NicéphoreNiépce in 1826 at Saint-Loup-de-Varennes.Niépce captured the photo with a camera obscurafocused onto a sheet of 20 × 25 cm oil-treated bitumen. As a result of the 8-hour exposure, sunlight illuminates the buildings on both sides.
STEP I: PREPARING THE PLATE (20 to 25 minutes)By far the most time consuming and labor intensive of the five-step process. 1) Remove a plate from the plate box (a). 2) If not pre-crimped in manufacture, use plate bender (b) to turn down edges. This takes less than a minute. Perfectly flat plates (c) were produced in the early years. Later, they were pre-bent at the edges (d) to aid insertion in a plate vice (i). 3) Remove buffing stick (e) from storage or warming box (f). Only one shown in this illustration, but each polishing agent gets its own buffer. 4) Vigorously scour the crimped plate (d) with powdered rotten stone (not illustrated) to remove surface imperfections. 5) Rub chalk rouge (g) on deerskin side of buffing stick (e). 6) Much more common was powdered rouge (h). Sprinkle on buffing stick and rub powder into surface of the hide (e). 7) Install plate in Benedict’s plate holder (i), one of many gadgets sold commercially for securing the plate while buffing. 8) The entire assembly is clamped onto a wooden table vise (j). The vise is fastened to the table or bench. Now polish or buff the plate (always in the horizontal direction of what will be the finished image) for about 20 minutes to get a perfect mirror finish. The use of a treadle driven buffing wheel could measurably shorten the time of this step. 9) Lime from these bottles (k) is used to bed or cradle the bromine in the bottom of the glass tray which is inside the second coating box (n). 10) Insert buffed plate (m), face down in the sliding cover which is double the length of the box, and slide the plate into position over box containing iodine (l). When the plate turns light yellow, (usually about 15 to 25 seconds) remove from this box. The iodine stays good for years when kept in its sealed coating box so it is always ready to be used. 11) Move the plate (m) to the bromine box (n) and slide into position for approximately 5 to 10 seconds till the plate turns rose colored. When this takes over 15 seconds, the bromine (or quick stuff) has weakened and a pinch more should be added to freshen up the existing chemical. It will then stay potent for months. 12) Now in darkness, return plate to the iodine box (l) for a few seconds. This completes the coating, and you now have a properly sensitized plate. 13) Insert polished and sensitized plate in a plateholder(o) and close dark-slide, (shown partially open in this illustration).14) All polishing except for the quick final buff of the plate with lampblack (not illustrated) is done in advance so the sitter can enter the studio and receive a finished likeness in less than thirty minutes! STEP II: TAKING THE EXPOSURE (2 to 8 minutes)1) Place the camera (a) on a tripod, (see Illustration Page 1). 2) Open trap doors (b) and (c) on top of camera . 3) Remove lens cap (d) from front of lens (e). 4) Insert the ground viewing glass (f) in open slot on camera top. 5) Focus lens (e) and compose your subject in its frame until you are satisfied. This usually takes more time than the actual exposure. Lightly replace lens cap (d). 6) Remove the viewing glass (f) from camera (a) and replace with the loaded plateholder(g) with dark-slide (h) in down position. (Though in the illustrated detail of this layout, an extra plateholder(g&h) is displayed partially drawn up in order to show the polished and sensitized daguerreotype plate’s position (i) within the plateholder(g). 7) With the plateholder in the camera, pull up the dark-slide as far as possible (h2), then remove and replace the lens cap (d), using it as the shutter. Normally indoors with good light this takes from ten to twenty seconds though most operators advertised much quicker exposure times to lure the gullable. If the advertising were to be believed, there would have been no need for headstands (see Illustration, Item 4). 8) Drop the dark-slide (h2) to secure the exposed plate from any further light and remove the plateholder from the camera.
