Chapter6

Printmaking

Chapter 6

Printmaking

• Print- a multiple work of art– Nearly identical pieces can be created

• Matrix-the base material the artwork is made on– Stone, wood, metal, linoleum…

• Edition-group of images from the same matrix– Many artist limit editions and all editions are

numbered

Relief

• Parts of the matrix not meant to carry ink are cut away

• Soft wood, linoleum, or rubber are used often

• It’s difficult to render shading • Multiple colors means multiple blocks

– Registration is critical-lining up of blocks on the paper

Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

Relief.


Section of The Diamond Sutra. Chinese Buddhist text. 868.Length of entire scroll 18'.


Emil Nolde. Prophet. 1912.image: .317 × .225 cm (12-1/2" × 81-3/16").


Rockwell Kent. Workers of the World, Unite. 1937.8" × 5-1/8".


Elizabeth Catlett (Mexican, 1919). Sharecropper. 1970.54.5 × 51.3 cm.

Intaglio

• Opposite of relief printing

• The areas that are cut into hold the ink– The areas to hold ink are cut, scratched, or

etched

• Engraving and etching are principal processes in the intaglio process


Intaglio.

Engraving

• A burin(engraving tool) is used to cut into the metal plate

• Any bur that is left from cutting the metal is smoothed with a scraper

• Also difficult to render shading– Traditionally, cross hatching is used to

show depth and shadow


Albrecht Dürer (1471–1528). The Knight, Death and the Devil. 1513.Page: 10" × 7-7/8" (25.5 × 20 cm), Plate 9-5/8" × 7-1/2" (24.5 × 19 cm).

Etching

• Resist-a coating that will resist the effects of acid– Usually wax or varnish

• The artist then uses a sharp tool to draw(expose) the areas to be etched by the acid

• The lines in an etching are less exact than in an engraving


Rembrandt Harmensz van Rijn (1606–1669). Christ Preaching. c. 1652. 61-1/4" × 8-1/8".

Aquatint

• Used for areas of a print that need a shade or gray tone

• Resist is sprinkled over the metal plate and etched

• This gives a rough surface that can create the feeling of shading

Drypoint

• For very fine lines• A very sharp tool is used to create these fine

lines– Often a diamond tipped tool

• The bur is integral to keeping these line visible– The bur is worn down during printing, so often the

artist can only make so many prints before it loses quality


Mary Cassatt. The Letter. 1891.H: 13-5/8" × 8-15/16".

Lithography

• No cutting is necessary• Drawings are made on a stone or metal plate• Drawings are created using litho pencils or

tusche which are very waxy• The image is then fixed with a solution of gum

arabic and weak acid• The stone or plate is then wet and the ink

applied– The ink is oil based and will only stick to the waxy

drawing and not the wet surface


Lithography.


Henri de Toulouse-Lautrec. Jane Avril. c. 1893.


Henri de Toulouse-Lautrec. Jane Avril Dansant. c. 1893.38" × 27".


Henri de Toulouse-Lautrec. Jane Avril. c. 1893.50-5/8" × 37".

Offset Lithography

• Uses a light sensitive plate instead of a stone

Stencil

• Stencil- a sheet with a design cut out of it. Painting or spraying will transfer the design

• Screenprinting- adhere the stencil to a silk screen. With a squeegee, ink is pushed through the screen. Anywhere the design is adhered, no ink will pass through the screen– Can also be create using light sensitive silk screen


Kim McCarthy. Urban Buddha. 2009.36" × 48".


Screenprinting.


Ester Hernández. Sun Mad. 1982.22" × 17".Ellen Gallagher. "Mr. Terrific" from Deluxe. 2004–2005.

1diani. La Humanidad. From Continents series: The Humankind. 2004.27" × 40".

Chapter6

Technology

Transcript of Chapter6