Notes:
- not screen printing, or low relief
- wood block, stone block
- made to be a print—original process
- updated print making—laser cutter
- printmaking has been around forever—cave painting
- matrix—from latin meaning womb, making reproduction of many things from one object
- big role as a technology
- monks bibles—> moveable blocks made in china, one for each character—> german printmaking 1450
- invention of moveable type—> entertainment, la clavier oaxaquena, politics, who was being executed that day
- contemporary, letter press, not super clean, relief printing interested graphic designers
- steamroller
- by hand, by machines
- community—> need to handle huge machines
- printshop environment—>leads to collaboration
- 25 identical prints—> lots of artists reject this process
example artists
- Swoon
- interacts with the surroundings
- paper cutting x print making
- Bryan Nash Gill
- documents stumps of trees through traditional print making process
- somber, memorial
- Rob Fischer
- gym flooring—> reconfigured, put color in recesses, and then print
- Cannonball Press, Brooklyn NY
- print onto sculptures, collaborative types
- intalio—really distinguishable, $$ began with hand made printing, hard to counterfeit
- Willie Cole
- ironing boards, marked up, look like slave ships, printed on the ironing boards
- Andy Warhol
- medium to critique and celebrate mass culture
- Jay Ryan
- Banksy
- stencil
- Kathryn Polk
- line drawing, then different color runs
- Enrique Chagoya
- Jenny Schmidt
- Pablo Picasso
- sequential process, proof and then work again
- Gwen Montgomery
- Flocking
Response:
It is interesting to me that Professor Lingscheit begins by saying that printmaking has been around for centuries because I never knew there were so many forms of printmaking. To be honest, I never really think about printmaking as a modern form of art or way to disseminate information. I think to me I still think it is something that that is out of date or from the past, but really printmaking surrounds us in our daily life. The examples of artists that Lingscheit gave us were really helpful in identifying how widespread the use of printmaking really is and how much it has evolved. We see printmaking in the form of street art with the cutting and pasting of images by artists such as Bansky or Swoon. We see printmaking in a more traditional form with Bryan Nash Gill, who uses tree stumps as a subject for his prints. His method involves choosing a unique stump of wood, sanding it, covering it with ink, whether colored or black, laying paper on top, smoothing it out, and then carefully taking it off. The result leaves the recesses white and the other spaces with ink. This form of print making is called relief printing. Another form of printmaking is called intaglio, which is where the incised or sunken area holds the ink, in contrast with the relief printing. Intaglio was the original way of creating paper money because it is really difficult to counterfeit.
I think it's interesting how printmaking has evolved. It began where only one very detailed print was being made and it took lots of hard work and a lots of people to help. Then it progressed to where you could stamp out information one letter at a time through individual letter blocks. Then you could finally print information using machines where you could churn out millions of copies at one time. It's funny, however, that artists are now interested meticulous traditional processes instead of being able to print 20 copies of the same subject in one shot. Even though it seems backwards that artists and designers are thinking about how to make prints individually instead of in bulk, I think it is important that we continue various practices of printmaking in order to appreciate and continue the legacy, if you will, of printmaking.
It is interesting to me that Professor Lingscheit begins by saying that printmaking has been around for centuries because I never knew there were so many forms of printmaking. To be honest, I never really think about printmaking as a modern form of art or way to disseminate information. I think to me I still think it is something that that is out of date or from the past, but really printmaking surrounds us in our daily life. The examples of artists that Lingscheit gave us were really helpful in identifying how widespread the use of printmaking really is and how much it has evolved. We see printmaking in the form of street art with the cutting and pasting of images by artists such as Bansky or Swoon. We see printmaking in a more traditional form with Bryan Nash Gill, who uses tree stumps as a subject for his prints. His method involves choosing a unique stump of wood, sanding it, covering it with ink, whether colored or black, laying paper on top, smoothing it out, and then carefully taking it off. The result leaves the recesses white and the other spaces with ink. This form of print making is called relief printing. Another form of printmaking is called intaglio, which is where the incised or sunken area holds the ink, in contrast with the relief printing. Intaglio was the original way of creating paper money because it is really difficult to counterfeit.
I think it's interesting how printmaking has evolved. It began where only one very detailed print was being made and it took lots of hard work and a lots of people to help. Then it progressed to where you could stamp out information one letter at a time through individual letter blocks. Then you could finally print information using machines where you could churn out millions of copies at one time. It's funny, however, that artists are now interested meticulous traditional processes instead of being able to print 20 copies of the same subject in one shot. Even though it seems backwards that artists and designers are thinking about how to make prints individually instead of in bulk, I think it is important that we continue various practices of printmaking in order to appreciate and continue the legacy, if you will, of printmaking.