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chap2.3printmaking.pptxNicole Hand Domestic Habitations etching, lithograph 2004 18 x 24
Chapter 2.3 Printmaking
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Introduction
Printing with inks was first used in China to print patterns on fabrics in the third century CE
There are many different techniques, and each one gives a unique character to every work it creates
Artists may not always do the production work themselves. If they create the master image, supervise the process, and sign the artwork, it is considered an original print
The production of two or more identical images, signed and numbered by the artist, is called an edition
There are three main printing processes: relief, intaglio, and planography
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Editions
Prints are produced in limited numbers of identical impressions, called editions
The printmaker has the ethical responsibility of making sure each print is similar enough to the others that each person who buys a print has a high-quality image
When a print is deemed identical to others in the edition it is assigned a number in the production sequence
Even though they could create more prints than they do, most artists decide to print a set number of prints: a limited edition
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Nearly all original prints are numbered to indicate the total number of prints pulled or printed in the edition.
Edition: multiple hand-printed copies of the same image.
A numbered print looks like this: 6/100
It means that this particular print was the sixth one printed out of an edition of one hundred.
Some prints are marked AP for Artist Proof.
It is kept by the artist for his/her own record or personal use.
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Context of Printmaking
The earliest existing printed artworks on paper were created in China and date back to the eighth century CE
By the ninth century, printed scrolls containing Buddhist sutras (scriptures or prayers) were being made across east Asia
While the woodblock print remained the primary vehicle for the development of the print in Asia, in the West a number of additional techniques developed over time
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Relief Printmaking
Relief prints are made by carving away from a block of a suitably workable material, such as wood or linoleum, a certain amount of it, to create a raised image
The artist then applies ink to the raised surface and transfers the image to paper or similar material by applying pressure in a printing press
The areas of the block that remain print the image because the carved areas are recessed and are not inked
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
2.41 A brief overview of the relief printing process
http://youtu.be/gBr3WG8txQk
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, 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; these prints are known as woodcuts
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Albrecht Dürer, Four Horsemen of the Apocalypse, c. 1497–8. Woodcut, 15⅜ x 11”
Kitagawa Utamaro, Lovers in an Upstairs Room, from Uta makura (Poem of the Pillow), 1788. Color woodblock print, 10 x 14½”.
Emil Nolde, Prophet, 1912. Woodcut, printed in black, composition 12⅝ × 8¾”.
Katsushika Hokusai, “The Great Wave off Shore at Kanagawa,” from Thirty-Six Views of Mount Fuji, 1826–33 (printed later). Print, color woodcut.
Sharecropper, Elizabeth Catlett, 1970, Linoleum print
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Elizabeth Catlett, And A Special Fear For My Loved Ones [from the series "I am the Black Woman"], 1946, from the edition of 20 printed in 1989
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Pablo Picasso
Linocut
Woodcut
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Intaglio Printmaking
Intaglio is derived from an Italian word that means “cut into” a surface
Intaglio printing differs from relief printmaking because little of the base material is removed
The ink on the raised surface is also wiped away before printing, leaving ink in the scarred surface of the plate
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, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Engraving: Lines are cut into the polished surface of a metal plate with a burin, or engraving tool. This takes great skill and strength.
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Albrecht Dürer, Adam and Eve, 1504. Engraving on paper.
Dog
Albrecht Durer, 1514
Engraving
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Drypoint is similar to line engraving. A thin, pencil-like instrument with a pointed tip digs lines into a soft metal plate. In drypoint the cutting tool is pulled, leaving a rough edge, or burr The result is a less precise line that has more irregularities
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Max Beckmann, Adam and Eve, 1917, published 1918. Drypoint, 9⅜ x 7”.
Christ Preaching
Rembrandt van Rijn, 1652
Etching
Etching begins with a metal plate being prepared with a ground-a protective coating of acid- resistant material that covers the copper or zinc. A pointed tool is used to cut through the ground and expose the metal. The metal is then immersed in acid which bites into the exposed plate leaving a groove.
The plate is immersed in acid.
Acid bites into the plate where the drawing has exposed the metal
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Rembrandt, Adam and Eve, 1638. Etching.
Kiki Smith
Etching
Wolf Girl
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Nicole Hand Dimunitive Familiarity etching, 2007 9 x 9"
Nicole Hand Repeated Duplicity etching, lithograph 2006 5 x 6.5
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Briony Morrow-Cribbs. Alliscorp, 2005.
Hand colored etching. AP. 6 x 6 inches
Briony Morrow-Cribbs. Bird Fish, 2005.
Hand colored etching. AP
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Aquatint
Requires the use of an acid bath to etch the surface of the plate
Water does not play a role in aquatint printmaking
The image is created in a coating of powdered rosin, or spray paint, on the surface of the plate
When heated, the rosin melts onto the surface of the plate, creating a mottled, acid-resistant barrier into which the design is etched
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
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Francisco Goya,
Giant, c. 1818. Burnished aquatint, sheet size 11¼ x 8¼”
Francisco Goya, “And There Is No Remedy,” from Disasters of War, c. 1810
Mezzotint
Mezzotints often produce dark, rich values because the ink has many places to settle
To make a mezzotint the entire surface is roughened with a heavy spiked rocking tool, which is a metal object with a spiked, curved bottom
The roughened surface is then smoothed in the areas where the printmaker wants the light tones
Ink is removed from the smoothed areas when the plate is wiped: the inked areas create dark tones and the smoothed areas hold less ink to create light tones
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Dox Thrash, Defense Worker,
c. 1941, Mezzotint over etched guidelines, 9¾ x 8”.
Planographic Printmaking
Planographic prints are made from an entirely flat surface
The printmaker treats parts of the surface so the ink adheres only to selected areas
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Lithography
Lithography is traditionally done on stone
German author Alois Senefelder devised the lithographic printing process in 1796
Some artists like lithography because it allows them to draw a design in the same way they do a drawing
An artist first draws a design, using a grease pencil or other oil-based drawing material, directly onto a piece of specially selected, cleaned, and prepared limestone
The combination of the water-absorbent stone and the oily drawing material work together so that a design in oil-based ink is suspended on the surface to print
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
2.53 A brief overview of the lithography process:
1 The artist designs the image to be printed
2 Using a grease pencil, the design is drawn onto the limestone, blocking the pores
3 The stone is treated with acid and other chemicals that are brushed onto its surface
4 The surface is wiped clean with a solvent, such as kerosene
5 The stone is sponged so that water can be absorbed into the pores of the stone
6 Oil-based ink is repelled by the water and sits only on areas where the oil crayon image was drawn
7 Paper is laid on the surface of the stone and it is drawn through a press
8 The paper is removed from the press
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Honoré Daumier, Rue Transnonain, April 15, 1834. Lithograph, 11½ x 17⅝”. Private collection
Jane Avril
Henri de Toulouse-Lautrec
Color Lithograph
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Beauvais Lyons, Lithograph
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Silkscreen Printing
Silkscreen printing is one of the most versatile printing processes, capable of placing a heavy coverage of ink on a wide variety of surfaces
Silkscreen printing was first developed in China during the Sung Dynasty and uses a stencil process
The image area of the screen is open and allows ink to pass through, while the rest of the screen is masked off
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
SilkScreen Printing Unlike the other printmaking processes, there is no reversal of the image in screenprinting. The latest development is photographic stencil, achieved by attaching light-sensitive gelatin to the screen fabric.
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Andy Warhol,
Double Elvis, 1963. Silkscreen ink
and silver paint on canvas,
17’¾” × 6’9⅞”.
Marilyn Monroe
Andy Warhol
Screenprint
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Madonna
Andy Warhol
Silkscreen
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Monotypes and Monoprints
Monotypes and monoprints are print techniques where the artist means to produce a unique image
A monotype image prints from a polished plate, perhaps glass or metal
Monoprints can be made using any print process
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Hedda Sterne, Untitled (Machine Series), 1949. Trace monotype, design 12 x 16⅜”
Kathy Strauss, Kepler Underneath 1, 2007. Monotype over India-inked calculations, Somerset velvet paper, each panel 30 x 23”. Collection of the artist
Conclusion
For relief prints artists carve into a flat, comparatively soft surface (often wood or linoleum) to leave an image on the surface of the block
For intaglio processes, such as engraving, drypoint, and etching, artists cut or gouge into a hard surface
Planographic printing by lithography allows artists to use their familiar drawing skills with an oily crayon on a specially prepared stone
Using stencils to block out non-image areas, silkscreen printing is particularly suited to laying down flat areas of heavy color
PART 2
MEDIA AND PROCESSES
Chapter 2.3 Printmaking
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
