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Chapter 2.3 Printmaking

PART 2

MEDIA AND PROCESSES

Introduction

Printmaking allows the same design to be reproduced and distributed to many people

If an artist creates the master image, supervises the process, and signs the work, it is considered an original print

PART 2

MEDIA AND PROCESSES

Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Printing with inks was first used in China to print patterns on fabrics in the third century ce

Original prints differ from commercial reproductions of an artwork, where the artist may not be involved in the process

The production of two or more identical images, signed and numbered by the artist, is called an edition; when an artist produces one print, it is called a monoprint

Each printmaking technique involves a different matrix, or origination point from which the print is derived

There are four main printing processes: relief, intaglio, lithography, and serigraphy

Artists choose a particular technique because they think it will suit the kind of effect they want to achieve

Context of Printmaking

Ancient civilizations in Egypt and Mesopotamia reproduced images using incised stones

The earliest printed artworks on paper were created in China

By the 15th century, woodblock printing workshops became common in Europe as paper became less expensive

PART 2

MEDIA AND PROCESSES

Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Relief Printmaking

This type of printmaking is achieved by carving away from a block of material, such as wood or linoleum, to create a raised image

Ink is applied to the raised surface (carved areas are not inked)

Image is transferred to paper or similar material by applying pressure

PART 2

MEDIA AND PROCESSES

Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Relief Printing Process

2.3.1 A brief overview of the relief printing process

PART 2

MEDIA AND PROCESSES

Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Woodblock

Traditionally, wood has been used for relief prints because it is readily available, familiar to work with, and holds up under the pressure exerted by the printing process

Prints are known as woodcuts

PART 2

MEDIA AND PROCESSES

Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Albrecht Dürer, “The Four Horsemen”

2.3.2 Albrecht Dürer, “The Four Horsemen” from The Apocalypse, 1498. Woodcut, 15¼ × 11". Metropolitan Museum of Art, New York

Albrecht Dürer, “The Four Horsemen”

From Dürer's illustrated Book of Revelation

Craftsmen created a printing block from his original drawing

Resulted in thin lines and detail that could withstand the compression of repeated printings

PART 2

MEDIA AND PROCESSES

Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

German artist Albrecht Dürer (1471–1528) created a series of fifteen illustrations from the Book of Revelation, a symbolic piece of writing that prophesies the Apocalypse

The horsemen represent Death, Plague, War, and Famine

Unlike cutting from a solid block of wood, a print craftsman stacks and glues a series of thin, sliced layers of wood to create a more stable printing block (similar to plywood) that will be less likely to splinter or crack

The labor was expensive, but the series made Dürer wealthy

Artwork: Kitagawa Utamaro, Lovers in an Upstairs Room

2.3.3 Kitagawa Utamaro, Lovers in an Upstairs Room, from Uta Makura (Poem of the Pillow), 1788. Color woodblock print, 10 × 14½". British Museum, London, England

Kitagawa Utamaro, Lovers in an Upstairs Room

Utamaro uses multiple blocks in different colors; each color is carefully printed in sequence on the same sheet of paper

Popular in Japan, ukiyo-e means “pictures of the floating world”

References to a young urban cultural class

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Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Kitagawa Utamaro (1753–1806) is regarded as one of the greatest Japanese printmakers

He made images for the Japanese middle and upper classes of figures, theaters, and brothels

Artwork: Emil Nolde, Prophet

2.3.4 Emil Nolde, Prophet, 1912. Woodcut, printed in black, composition 12⅝ × 8¾". MoMA, New York

Digital rights not available for this image. See p. 228 of the textbook.

Emil Nolde, Prophet

Nolde uses the natural character of the wood to suggest the hardships of an austere life

Relief printmaking favors dark images with strong contrast

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Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Emil Nolde (1867-1956) was a German Expressionist printmaker.

Artwork: Hokusai, “The Great Wave off Shore at Kanagawa”

2.3.5 Katsushika Hokusai, “The Great Wave off Shore at Kanagawa,” from Thirty-Six Views of Mount Fuji, 1826–33 (printed later). Print, color woodcut. Library of Congress, Washington, D.C.

Hokusai: Using the Woodblock Printing Method

Hokusai relied on skilled craftsmen who carved his original image into cherry wood

Nine blocks were used in this print; each color required its own relief block

Gateway to Art:

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The work of Japanese artist Katsushika Hokusai (1760–1849) is a fine example of the printmaker’s art

“The Great Wave” was one of ten prints in the series Thirty-Six Views of Mount Fuji to use a new blue color, imported from Europe, known as Prussian blue

The sequence of printing was done with great skill, ensuring that each print in the edition matched the others

The blocks of wood were used so many times that the carving eventually deteriorated

Although it is unknown how many prints were made, it is estimated there were more than 5,000

Linocut

Linoleum is softer than woodblocks and does not show a wood grain

Linoleum (“lino”) printmaking is done by carving into the surface, then printing the raised surface left behind

The resulting prints are called linocuts

PART 2

MEDIA AND PROCESSES

Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Stanley Donwood, “Hollywood Limousine”

2.3.6 Stanley Donwood, “Hollywood Limousine,” from the Lost Angeles series, 2012.

Black screenprint on a silver foil layer, 22 × 35¾"

Stanley Donwood, “Hollywood Limousine”

Donwood is best known for his artwork for the rock band Radiohead

Produced a series that depicts the last days of the city of Los Angeles

Cut into sheets of soft linoleum and printed on fine Japanese paper

PART 2

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Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Real name is Dan Rickwood (b. 1968)

The soft linoleum allowed Donwood to capture the myriad of fictional events in great detail, with the kind of clarity that a storybook illustration might have

Intaglio Printmaking

Intaglio means “cut into” in Italian

A burin cuts or gouges into a metal or Plexiglas plate

The Ink on the raised surface is wiped away, leaving ink in the scarred surface

The pressure of the printing press squeezes the plate against the paper, transferring the ink

PART 2

MEDIA AND PROCESSES

Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Intaglio Printmaking Process

2.3.7 A brief overview of the engraving process (intaglio): 1. An image is designed for the plate. 2. Using a sharp tool, the artist incises the image into the plate.

3. The plate is inked.

4. The surface of the plate is wiped, removing all ink except in the grooves

5. Paper is placed on the plate and it is pressed.

6. The paper lifts the ink out of the grooves and the ink is imprinted on the paper

7. The final image is complete. (In most printmaking methods the final image is reversed from the plate or block.)

PART 2

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Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Engraving

Based on the careful scoring of a metal plate so that clean gouges are created in the surface

An engraving can achieve fine detail, making the resulting print more like the artist’s original drawing

PART 2

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Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Albrecht Dürer, Adam and Eve

2.3.8 Albrecht Dürer, Adam and Eve, 1504. Engraving on paper, 9⅞ × 7⅞".

Metropolitan Museum

of Art, New York

Albrecht Dürer, Adam and Eve

Dürer had a financial reason for choosing to engrave his work:

Because a metal plate is much more durable than a woodblock, he could make and sell many more copies of his image

PART 2

MEDIA AND PROCESSES

Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Portal Artwork: William Hogarth, False Perspective

4.5.6 William Hogarth, False Perspective. Engraving from Dr. Brook Taylor’s Method of Perspective Made Easy, Both in Theory and in Practice, 1754

William Hogarth’s False Perspective is an example of an engraving with fine detail.

Drypoint

In drypoint the cutting tool is pulled, leaving a rough edge, or burr

When the plate is wiped the ink is caught under the burr

The result is a less precise line that has more irregularities

PART 2

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Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Max Beckmann, Adam and Eve

2.3.9 Max Beckmann, Adam and Eve, 1917, published 1918. Drypoint, 9⅜ × 7". Private collection, New York

Max Beckmann, Adam and Eve

Beckmann's uneven line expresses unpredictability and an organic naturalness

The irregular, rough lines of drypoint suit the subject matter

Adam and Eve are becoming aware of their nakedness, uncertain about their future

PART 2

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Max Beckmann (1884–1950) was a German Expressionist artist.

Etching

A metal plate is covered with an acid-resistant coating, into which the artist scratches the design

The plate is immersed in acid

The acid “bites” into the metal where the covering has been removed, making grooves that hold the ink

PART 2

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Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Rembrandt van Rijn, Adam and Eve

2.3.10 Rembrandt van Rijn, Adam and Eve, 1638. Etching, 9¾ × 7". Rijksmuseum, Amsterdam, The Netherlands

Rembrandt van Rijn, Adam and Eve

The Dutch artist Rembrandt van Rijn was a master of intaglio printmaking, especially etching

Rembrandt brings out details by marring the plate surface more in the areas that will appear darker in the print

PART 2

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Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Rembrandt Harmenszoon van Rijn (1606–1669).

Aquatint

The image is created in a coating of powdered rosin (a tree sap)

The rosin is melted onto the surface of the plate, creating a mottled, acid-resistant barrier into which the design is etched

Creates a soft organic texture similar to that of brush and ink

PART 2

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Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Another process that requires the use of an acid bath to etch the surface of the plate is aquatint

Despite the name, water does not play a role in aquatint printmaking

Since the rosin leaves irregular areas of the plate exposed, a soft organic texture (similar to that created when one uses brush and ink) dominates the image

Artwork: Francisco Goya, Giant

2.3.11 Francisco Goya, Giant,

c. 1818. Burnished aquatint,

first state, sheet size 11¼ × 8¼". Metropolitan Museum of Art,

New York

Francisco Goya, Giant

This print shows the wash-like appearance of the aquatint process

Goya controlled the distribution of rosin to create dark values

Soft, rich implied texture emphasizes that this is a mythical creature

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Mezzotint

The entire surface of the plate is roughened with a rocking tool (a metal object with a spiked, curved bottom)

Areas where light tones are desired are then smoothed

Ink is removed from the smoothed areas when the plate is wiped

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Mezzotints often produce dark, rich values because the ink has many places to settle.

Artwork: Dox Thrash, Defense Worker

2.3.12 Dox Thrash, Defense Worker, c. 1941, Carborundum mezzotint over etched guidelines, 9¾ × 8". Print and Picture Collection, Free Library of Philadelphia

Dox Thrash, Defense Worker

Thrash uses mezzotint over etched guidelines

The dark values reflect the seriousness of the war effort and the spirit of the American worker during World War II

Sponsored by the Works Projects Administration

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Chapter 2.3 Printmaking

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

African-American artist Dox Thrash (1893–1965) used more than one printmaking method

The Works Projects Administration was a government program originally created during the Great Depression to employ Americans at a time when jobs were hard to find

Artists, writers, musicians, and others contributed to American culture and infrastructure by applying their skills, first in support of rebuilding America and then, during World War II, in support of the war effort

Collography

Collography is created by building up (rather than cutting into) a surface

Artist glues or “collages” materials to a rigid support (e.g. wood or cardboard)

The image can then be inked and printed

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Glen Alps, Roll-Up #2

2.3.13 Glen Alps, Roll-Up #2, 1956. Collagraph, 26¼ × 32½"

Glen Alps, Roll-Up #2

Alps is most closely associated with the development of the collagraph

Pieces of material are glued in a spontaneous way

Surface can be easily manipulated

PART 2

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Chapter 2.3 Printmaking

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Glen Alps (1914–1996) was a longtime faculty member at the University of Washington in Seattle

Alps first used the term collagraph to describe the process

Although Alps did not invent the collagraphic technique, he was the first printmaker to succeed in mastering and promoting the process

Lithography

From the Greek for “stone writing”

A planographic process – the print is made from an entirely flat surface

German author Alois Senefelder devised the process in 1796

Allows the artist to draw a design in the same way they do a drawing

PART 2

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

German author Alois Senefelder (1771–1834) was out of money and looking for a cheaper method to print his newest play

The complex presses used nowadays by commercial printers for producing newspapers, magazines, and brochures (“offset lithography”) use thin sheets of zinc or aluminum instead of stone, but the basic principles are the same

Contemporary artists’ lithographic prints are still made on the kind of stone used by Senefelder

Lithography Process

2.3.14 A brief overview of the lithography process:

The artist designs the image to be printed.

Using a grease pencil, the design is drawn onto the limestone, blocking the pores.

The stone is treated with acid and other chemicals that are brushed onto its surface. Then the surface is wiped clean with a solvent, such as kerosene.

The stone is sponged so that water can be absorbed into the pores of the stone.

Oil-based ink is repelled by the water and sits only on areas where the oil crayon image was drawn.

Paper is laid on the surface of the stone and it is drawn through a press.

The print is removed from the stone.

The completed image appears in reverse compared with the original design.

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Artwork: Honoré Daumier, Rue Transnonain, April 15, 1834

2.3.15 Honoré Daumier, Rue Transnonain, April 15, 1834, 1834. Lithograph, 11½ × 17⅝".

Metropolitan Museum, New York

Honoré Daumier, Rue Transnonain, April 15, 1834

Daumier uses the lithographic process to tell the citizens of Paris about an incident of police brutality

He worked for a monthly magazine

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Thinking that an attack had come from a residence, authorities entered and ruthlessly killed everyone inside

Honoré Daumier (1808–1879), a great critic of the French government’s treatment of workers, drew this massacre in gruesome detail

Portal Artwork: Toulouse-Latrec, La Goulue at the Moulin Rouge

2.7.16 Henri de Toulouse-Lautrec, La Goulue at the Moulin Rouge, 1891. Lithograph in black, yellow, red, and blue on three sheets of tan wove paper, 6'2½" × 3'9⅝". Art Institute of Chicago, Illinois

Henri de Toulouse-Lautrec used lithography for a light-hearted purpose in his poster promoting a famous Parisian destination.

Serigraphy (Silkscreen Printing)

A versatile process, capable of placing ink on a wide variety of surfaces

First developed in China during the Sung Dynasty (960–1279)

Uses a stencil process

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artists value, amongst its many other virtues, serigraphy’s potential for printing strong colors

Can be used to create a large number of prints

The silkscreen itself is nowadays a fine mesh, usually made out of nylon

As the printmaker moves the squeegee over the screen, the mask prevents ink from passing through in unwanted areas

Artwork: Andy Warhol, Four Marilyns

2.3.16 Andy Warhol, Four

Marilyns, 1962. Acrylic, silkscreen ink, pencil on

linen, 29 × 21½". Sold at Phillips, New York 2014

Andy Warhol, Four Marilyns

Warhol deliberately repeats the image to comment on the nature of mass-produced images in advertising

Emphasizes the flatness and lack of depth in the image of Marilyn

Photographic silkscreen over aluminum paint

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American artist Andy Warhol (1928–1987) reproduces a photo taken at the height of the actress’s career

Shows how her image has become a commodity rather than a genuine attempt to capture her individuality

The repeating “clones” of Marilyn also accentuate the degeneration that occurs when an original is copied

Artwork: Melanie Yazzie, Untitled

2.3.17 Melanie Yazzie, Untitled, 2016. Screen print. Mesa Contemporary Art, Arizona

Melanie Yazzie, Untitled

Yazzie uses a spontaneous and expressive approach to her work

Explores her Navajo heritage and the human condition

Multi-layered work with two images; the second is superimposed over the first layer

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Navajo printmaker Melanie Yazzie (b. 1966)

Yazzie's spontaneous approach to the screen-printing process contrasts with the well-planned methods that most printmaking demands

She uses an impulsive approach to express the human condition combined with an intimate view of her people’s history

The energetic character of her work projects an optimistic vision of the future, in contrast to the past hardships imposed on indigenous people

Editions

Prints are produced in limited numbers of identical impressions, called editions

Each print in the edition is assigned a number in the production sequence

Although they could create more, most artists decide to print a set number of prints: a limited edition

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The printmaker has the ethical responsibility for making sure each print is similar enough to the others so that each person who buys a print has a high-quality image

A print marked 2/25 is the second print in an edition of twenty-five

Artist’s proofs (A/P) are used by the printmaker to check the quality of the process

Destroying the plates protects the integrity of the edition, making each print rarer and therefore more valuable

Monotypes and Monoprints

These print techniques enable an artist to produce a one-of-a-kind image

A monotype image prints from a polished plate (e.g. glass or metal)

Monoprints can be made using any print process

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Hedda Sterne, Untitled (Machine Series)

2.3.18 Hedda Sterne, Untitled (Machine Series), 1949. Trace monotype, design 12 × 16⅜".

Harvard Art Museums, Fogg Art Museum, Cambridge, Massachusetts

Hedda Sterne, Untitled (Machine Series)

Sole woman in a group of abstract painters called the Irascibles

Although abstract, her monotype makes associations with architectural and mechanical images

Probably employed a straightedge to maintain the regularity of line

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Hedda Sterne (1910–2011).

Artwork: Kathy Strauss, Kepler Underneath 1

2.3.19 Kathy Strauss, Kepler Underneath 1, 2007. Monotype over India-inked calculations, Somerset velvet paper, each panel 30 × 23". Collection of the artist

Kathy Strauss, Kepler Underneath 1

Strauss first utilized the intaglio process to incise and ink calculus problems in a metal plate

She then painted the Milky Way in ink directly onto the same plate by hand

The result can never be re-created exactly in a second print

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Kathy Strauss’s (b. 1956) monoprint Kepler Underneath 1 painstakingly depicts the Milky Way Galaxy.

Print Shops and Digital Reproduction Services

Printmakers sometimes rely on the technical expertise of craftsmen

Print shops work with the artist to find the right paper, surface appearance, and archival qualities

Some shops provide digital reproductions of the original work

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

For example, Printmakers Chicago is a commercial printing service that works with artists and other creative professionals to re-create original imagery

They also provide digital reproductions that replicate the character of the original work, be it a print, painting, or other two-dimensional piece

Drying racks at Skyline Art Editions

2.3.20 Drying racks at Skyline Art Editions, Austin, Texas

Contemporary Directions in Printmaking

Freedom of expression and new technologies have inspired printmakers to innovate

Much of the innovation rises out of collaborative print shops redefined the nature of printmaking

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Rufino Tamayo, Perro de Luna

2.3.21 Rufino Tamayo, Perro de Luna, 1973. Mixograph, edition of 100, 22¼ x 30¼"

Rufino Tamayo, Perro de Luna

This work was printed on heavily textured hand-made paper

Pushed the boundaries of printmaking beyond a flat surface

Relief surface

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

• Mixografia®, founded in Mexico City by Luis Remba (b. 1932) as Taller de Gráfica Mexicana (TGM), was early innovative print shop that worked with Mexican artists

• Tamayo integrated paper pulp into the process calling it the Mixografia® printing technique

• Moved to Los Angeles in 1984

Artwork: Ilana Raviv, Doll with Toys

2.3.22 Ilana Raviv (Oppenheim), Doll with Toys, 2003. Acrylic on canvas, 29 x 37"

Ilana Raviv, Doll with Toys

Raviv reproduces her original work for commercial distribution using the giclée print process

The color permanence and resolution of this method insures a lasting piece of art

Encapsulates her gestural style

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

• In the 1980s the introduction of computer graphics introduced new possibilities for artists

• Inkjet printers made it possible for artists to create a fixed image and by the 1990s high-resolution permanent prints became possible

• Jack Duganne (b. 1942) introduced the giclée print process and now runs his own print shop Duganne Atelier

• Israeli artist Ilana Raviv (b. 1945), works in a number of different media

Artwork: Kurt Dyrhaug, Unterschieden Tonka

2.3.23 Kurt Dyrhaug, Unterschieden Tonka, 2017. Three-dimensional print, metal coating, and acrylic paint, 7 × 3 × 3". Museo de Arte Contemporano Costa da Morte, Corme, Spain

Kurt Dyrhaug, Unterschieden Tonka

Dyrhaug is an American sculptor

His original computer graphic design is used to create this three-dimensional print

Uses an iron metal coating on the finished print, then applied acrylic paint for textural and surface finish

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

• American sculptor Kurt Dyrhaug (b. 1966)

• The introduction of 3-D modeling software and printers brought a new dimension to printmaking

• 3-D modeling software allows an artist to “draw” a three-dimensional object on a computer

• 3-D printers use a glue-like liquid that is systematically printed in a series of printed layers until the object is created

Printmaking

(Media/Processes)

Video:

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Chapter 2.3 Copyright Information

This concludes the PowerPoint slide set for Chapter 2.3

Gateways to Art: Understanding the Visual Arts

Third Edition

By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PowerPoints developed by CreativeMyndz Multimedia Studios

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Picture Credits for Chapter 2.3

2.3.1 Ralph Larmann

2.3.2 Metropolitan Museum of Art, New York, Gift of Junius Spencer Morgan, 1919, 19.73.209

2.3.3 British Museum, London

2.3.4 Museum of Modern Art, New York. Given anonymously (by exchange), 119.1956. Photo 2012, Museum of Modern Art, New York/Scala, Florence. © Nolde Stiftung Seebüll

2.3.5 Library of Congress, Washington, D.C. Prints & Photographs Division, H. Irving Olds collection, LC-DIG-jpd-02018

2.3.6 Courtesy Stanley Donwood/TAG Fine Arts

2.3.7 Ralph Larmann

2.3.8 Metropolitan Museum of Art, New York, Fletcher Fund, 1919, 19.73.1

2.3.10 Rijksmuseum, Amsterdam, Mr. and Mrs. De Bruijn-van der Leeuw Bequest, Muri, Switzerland

2.3.11 Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1935, 35.42

2.3.12 Print and Picture Collection, Free Library of Philadelphia. Courtesy Fine Arts Program, Public Buildings Service, U.S. General Services Administration. Commissioned through the New Deal art projects

2.3.13 Courtesy Martin-Zambito Fine Art, Seattle

2.3.14 Ralph Larmann

2.3.15 Metropolitan Museum of Art, New York, Rogers Fund, 1920, 20.23

2.3.18 Fogg Art Museum, Harvard Art Museums, Margaret Fisher Fund, M25276. Photo Imaging Department © President & Fellows of Harvard College. © ARS, NY and DACS, London 2018

2.3.20 Photo courtesy Skyline Printing LLC, Austin, Texas

PowerPoints developed by CreativeMyndz Multimedia Studios

PART 2

MEDIA AND PROCESSES

Chapter 2.3 Printmaking

Picture Credits for Chapter 2.3 (contd.)

2.3.21 Photo courtesy Denis Bloch Fine Art, Los Angeles. © D.R. Rufino Tamayo/Herederos/México/Fundación Olga y Rufino Tamayo, A.C. 2018

2.3.23 Museo de Arte Contemporano Costa da Morte, Corme. Courtesy Kurt Durhaug

PowerPoints developed by CreativeMyndz Multimedia Studios

PART 2

MEDIA AND PROCESSES

Chapter 2.3 Printmaking