Please respond to the readings in at least 150 words. Follow the guidelines for completing lectures and research before posting your work under the appropriate blog entry.
As an artist new to printmaking I am completely fascinated and excited about how much you can do with it. I feel like the visitor in the shop that Kathan Brown describes in the beginning of her book. I always knew there was a lot of things that you could do with prints, but now reading how much you can do with it I'm excited to try everything I can. I didn't know for example, about multiple originals, or limited edition print, or edition prints, or any sort of terminology of that kind. I also learned about the four basic methods of printmaking; relief printing, intaglio, stencil, and planographic. I have trouble telling the difference between the relief and intaglio. What I though to be the difference is that the intaglio allows there to be different colors of ink due to the different deepness of the impressions made on the plates. The stencil printing I now know to be screenprinting, something that I've always been interested in trying. I like how the image won't be reversed in this and I've seen several screenprinted art and I think you can do so much with it. I also like the "pop art" look that it says on there. Planeographic I understood to be a kind of printmaking based a lot on the different chemicals in the paints and the materials. I understand lithographs and how they work, at least I think I do, and I feel like it would be fun to do it. Overall I feel like reading these articles only made me more excited about making them than I was before.
Even though I am a studio art major I have absolutely no experience with printmaking. The process has always seemed daunting to me, though I have always loved other peoples work and wished I could do it myself. After reading about the fundamentals of printmaking, the process does not seem as intimidating as I thought it would be and found some techniques that would suit me as a beginner. There are a lot of things I would like to create that seem plausible now with the proper technique. My favorite example in the text was Wayne Thiebaud's "Eight Lipsticks". I really like the pop-art look to it and the subject matter of vanity, which is similar to my theme of fashion/the fashion industry. Thiebaud's "Nine Lipsticks" was a favorite of mine as well, which was done in color silkscreen. He uses a lot of interesting techniques to represent different objects or series of objects that I would be interested in experimenting with. This article was very helpful in letting me see different techniques that I could use in my work and also open me up to artists that do work similar to my own to draw inspiration from. I am looking forward to getting started!
Entering this class, I have very little experience with printmaking, minus my brief encounter with the lino in 2D. My primary medium has been charcoal for as long as I can remember, so it'll be nice to break out of my comfort zone for the semester. I have respected Rauschenberg's combines for years, and I'm looking forward to finally stepping into a similar field of creation. Looking over the first printmaking reading, it's pretty cool to see all of the different potential methods for printmaking. I really like how the author gave step-by-step instructions as well as pictures for various printmaking processes; she even gave helpful tips on cleaning the ink! Of all the techniques mentioned, the stencil methods are the most interesting to me, and I might like to try them in a future project. As the first reading is more of a handbook to printmaking, I enjoyed the second reading for its narrative feel. I particularly enjoyed the last segment as the author explained differences among printmaking techniques. I know in the back of my mind that there are different processes, but when I see a print I generally just think "Oh, a print" instead of "Hey, a lithograph" or "Wow, a silkscreen print." This section of the reading, along with whole of the first reading, gives me hope in my own printmaking endeavors because there ARE different processes. In artmaking, I value the process over the end result; if I don't enjoy the process, I cannot look at the final product without cringing a little, even if to a regular viewer the work looks fine. So, if there is a printmaking method that I try and end up disliking, I can always try one of the others! I completely agree with Danae and Meghan in that I'm pretty excited about delving into the world of printmaking.
Though I have done some print making before, I enjoyed reading about the different techniques and learned a lot about the differences between different types of prints. I enjoyed the reading by Kathan Brown because of its autobiographical nature and because she spoke of specific artist she had worked with, including Richard Diebenkorn, whom I absolutely adore. I enjoyed reading, not only the patchwork of stories about working with the artist, but learning about how he combined the process of etching with getting around a difficult part in his paintings. In the reading by Jane Stobart, I love how she wrote about printmaking in the introduction! Stobart speaks of the element of surprise, which is something that I both love and hate about printmaking and then she say that printmaking is, “akin to that of alchemy.” I think that is an original way to think about printmaking but makes sense when one considers the process of going through the various steps to produce a work of art, that even to its creator, can produce an image full of surprises and unexpected beauty! Both articles touched of the importance of how prints are marketed and sold. Stobart, again in her introduction put it in simple terms, that a “limited print” is merely a reproduction and not anything like an “original”, though galleries will lead you to believe that these “limited prints” are still very valuable. I believe that as with making art, when purchasing art, it should be done for love and not for money. I think that Brown made this point clear throughout the reading.
Andrea D’Alfonso (part 1) What I found interesting about the reading. Intro to printmaking one and two.
The fact that there is really only six basic methods used in printmaking yet such a variety of images can be created is really fascinating. The six methods are: monotype, relief, intaglio, screen-printing, lithography, and digital printmaking. The “element of surprise” that is created is also an attractive aspect of this type of art making. You can then discover/create things that you didn’t think of before, and then unexpected outcomes may also be problematic at times. But then you can use your problem solving skills and find a solution. The reading drew to my attention that I should pay attention to wording. If something says that it is a “limited edition” that is not an “original”. Limited edition is something that has been copied by a commercial printer. Originals are signed and have an edition number on it. Monotypes are a strange part of printmaking to me, because when I think of print making I think about duplicating an image multiple times, and monotypes are unique creations that you can make doubles of but it would never be exactly the same. Learning the time-consuming step by step printing process actually helps artist that are painters and sculptures better understand what they are doing technique-wise and concept-wise. Printmaking is a great way for different types of artists to convey their ideas and thoughts. The process and end result are very tactile and fulfilling. 1. ART LIFE AND SKILL All of the ink was mixed in bulk for multiple prints, which makes sense but also seems like an easy way to waste ink. You could create layers just as in Photoshop, but with a bit more effort. To make prints you have to think I different way then when drawing, you have to have a clear vision of your final piece before you begin the process, otherwise it would be a chaotic mess. While observing a day in the life of a printmaker one artist in particular caught my attention. John Cage had begun to make bread at Crown Point Press. He says, “art and life were very close together, and skill was mainly what separated them.” Printing workshops were open for hourly fees, and those who worked there would do the printing for others if they could pay. Then you get into the issue of who is the real artist if you did not make it with your own hands, and just came up with the concept. 2. FINE ART PRINTMAKING The fact that the image from which all of the “impressions” (rather than saying copies) are made is called the Matrix —Latin word for mother is very awesome.
Andrea D'Alfonso (part 2) I found it interesting that the matrix is destroyed when the edition is done and printed that way more cannot be made. I think that is very smart. The reasoning behind “limiting the edition is to distinguish fine art prints from commercial reproductions.” I never thought about that either and I thought that was clever I thought there was only one way to make a proof but evidently there are three ways: working proofs, artist’s proofs, and trial proofs. When Richard Diebenkorn got stuck while making a painting, he would take a break and do some etching, I guess what was needed was to take a step back. It is an absolutely brilliant plan to use a mirror when you are making a print such as Diebenkorn did while he painted, since the image will come out in reverse. 3. WAYS OF PRINTING, SOME THOUGHTS ON AUTHENTICITY The way in which types of prints are categorized and used was noteworthy; Relief: when you print form a raised surface and the ink lies on top of the 3D matrix., used to make books and magazines. Intaglio: when you print from the parts you carved out and the ink lies in the grooves, used to duplicate works of art. Old presses being “famous” is a cool idea. The rotogravure was one of the legendary ones; nowadays it is used for making packing materials. Crown Point Press seemed like a place where you could do any printing process imaginary, but this was false, they don’t do lithography or silkscreen. Everyone was making a big deal about how in printmaking the image you create is the reverse image. However for screen-printing it does not reverse the image. It is the only printing process that does so. Pop art is associated with silkscreen printing. Made well know by Andy Warhol and his Coke bottles and Soup cans. I learned that there are names for prints made from prints—an offset. “What makes a work of art authentically that of the artist?” the question is raised—can you copy from your previous artwork? And improve on your idea or concept or is that thought of as cheating? Wayne Thiebaud thought it was fine, with the concept that “changing anything changes everything” in mind. I agree. That’s really strange that Salvador Dali signed the paper before his prints were put on it. Then you have placed your approval on something that doesn’t even exist yet, in fact you placed your approval on something that has the element of surprised involved too!
The part I find most intriguing is not that of the art making process but rather what series of events came together for her to have the means to create prints. It seems so often we, as college students, get caught up in the final product or getting where we see ourselves in ten years, that we do not let life take its course. Especially today, in the fast paced, globalized society, people plan out their lives from elementary school. Kathan Brown inspired me in her romanticized two-month trip on a freighter with her newly acquired etching press materials. Something I could personally focus on in not only my art making process but my life is the quote, “I hadn’t made plans for the future (14).” This is a non-existent thought in my life that I would like to make space for. Another point raised that I could appreciate as a perfectionist is the idea of calling prints multiple originals rather than copies. When the expectation of making multiple prints is to get ‘copies,’ my heart murmurs at the possibility of failure. By labeling the process, ‘multiple originals,’ the pressure is reduced and I am able to concentrate more on the art of print making rather than the final product expectations. One point I am unfamiliar with is the difference between AP (artist’s proofs) and TP (trial proofs). I hope to clear this up in relation to my current project in class.
What I found most interesting about these readings was actually the part where Brown discusses the different artists and people she collaborated with. The part that really stood out to me the most was the point where she explains how Thiebaud told a group of students to disregard creativity, emotions, and individualism and instead worry about finding something you are good at. I related most to this section because Thiebaud is primarily a drawer, not printmaker, which I can relate to. I also take his comments towards "finding something you are good at" as very indicative of how I have treated this semester; it's been very experimental and trial-and-error as far as processes I've used go. Since graphic design is something I am good at (more-so than etching) I have moved away from the techniques I used in my first project and instead embraced using flat, digitally-manipulated photographs throughout my series. Discovering monotype also allowed me to take something that I am trying to be good at (painting) and utilize it towards a printmaking technique, much like how Thiebaud utilized etching due to the fact that he was primarily a drawer. I just find it fascinating to hear about the lives of successful or inspirational artists, especially when I can take something away from what they are saying or find a part of myself within them.
As an artist new to printmaking I am completely fascinated and excited about how much you can do with it. I feel like the visitor in the shop that Kathan Brown describes in the beginning of her book. I always knew there was a lot of things that you could do with prints, but now reading how much you can do with it I'm excited to try everything I can. I didn't know for example, about multiple originals, or limited edition print, or edition prints, or any sort of terminology of that kind.
ReplyDeleteI also learned about the four basic methods of printmaking; relief printing, intaglio, stencil, and planographic.
I have trouble telling the difference between the relief and intaglio. What I though to be the difference is that the intaglio allows there to be different colors of ink due to the different deepness of the impressions made on the plates.
The stencil printing I now know to be screenprinting, something that I've always been interested in trying. I like how the image won't be reversed in this and I've seen several screenprinted art and I think you can do so much with it. I also like the "pop art" look that it says on there.
Planeographic I understood to be a kind of printmaking based a lot on the different chemicals in the paints and the materials. I understand lithographs and how they work, at least I think I do, and I feel like it would be fun to do it.
Overall I feel like reading these articles only made me more excited about making them than I was before.
Even though I am a studio art major I have absolutely no experience with printmaking. The process has always seemed daunting to me, though I have always loved other peoples work and wished I could do it myself. After reading about the fundamentals of printmaking, the process does not seem as intimidating as I thought it would be and found some techniques that would suit me as a beginner. There are a lot of things I would like to create that seem plausible now with the proper technique. My favorite example in the text was Wayne Thiebaud's "Eight Lipsticks". I really like the pop-art look to it and the subject matter of vanity, which is similar to my theme of fashion/the fashion industry. Thiebaud's "Nine Lipsticks" was a favorite of mine as well, which was done in color silkscreen. He uses a lot of interesting techniques to represent different objects or series of objects that I would be interested in experimenting with. This article was very helpful in letting me see different techniques that I could use in my work and also open me up to artists that do work similar to my own to draw inspiration from. I am looking forward to getting started!
ReplyDeleteThis comment has been removed by the author.
ReplyDelete*My first post was not proofread...
DeleteEntering this class, I have very little experience with printmaking, minus my brief encounter with the lino in 2D. My primary medium has been charcoal for as long as I can remember, so it'll be nice to break out of my comfort zone for the semester. I have respected Rauschenberg's combines for years, and I'm looking forward to finally stepping into a similar field of creation. Looking over the first printmaking reading, it's pretty cool to see all of the different potential methods for printmaking. I really like how the author gave step-by-step instructions as well as pictures for various printmaking processes; she even gave helpful tips on cleaning the ink! Of all the techniques mentioned, the stencil methods are the most interesting to me, and I might like to try them in a future project. As the first reading is more of a handbook to printmaking, I enjoyed the second reading for its narrative feel. I particularly enjoyed the last segment as the author explained differences among printmaking techniques. I know in the back of my mind that there are different processes, but when I see a print I generally just think "Oh, a print" instead of "Hey, a lithograph" or "Wow, a silkscreen print." This section of the reading, along with whole of the first reading, gives me hope in my own printmaking endeavors because there ARE different processes. In artmaking, I value the process over the end result; if I don't enjoy the process, I cannot look at the final product without cringing a little, even if to a regular viewer the work looks fine. So, if there is a printmaking method that I try and end up disliking, I can always try one of the others! I completely agree with Danae and Meghan in that I'm pretty excited about delving into the world of printmaking.
Though I have done some print making before, I enjoyed reading about the different techniques and learned a lot about the differences between different types of prints. I enjoyed the reading by Kathan Brown because of its autobiographical nature and because she spoke of specific artist she had worked with, including Richard Diebenkorn, whom I absolutely adore. I enjoyed reading, not only the patchwork of stories about working with the artist, but learning about how he combined the process of etching with getting around a difficult part in his paintings.
ReplyDeleteIn the reading by Jane Stobart, I love how she wrote about printmaking in the introduction! Stobart speaks of the element of surprise, which is something that I both love and hate about printmaking and then she say that printmaking is, “akin to that of alchemy.” I think that is an original way to think about printmaking but makes sense when one considers the process of going through the various steps to produce a work of art, that even to its creator, can produce an image full of surprises and unexpected beauty!
Both articles touched of the importance of how prints are marketed and sold. Stobart, again in her introduction put it in simple terms, that a “limited print” is merely a reproduction and not anything like an “original”, though galleries will lead you to believe that these “limited prints” are still very valuable. I believe that as with making art, when purchasing art, it should be done for love and not for money. I think that Brown made this point clear throughout the reading.
Andrea D’Alfonso (part 1)
ReplyDeleteWhat I found interesting about the reading. Intro to printmaking one and two.
The fact that there is really only six basic methods used in printmaking yet such a variety of images can be created is really fascinating. The six methods are: monotype, relief, intaglio, screen-printing, lithography, and digital printmaking.
The “element of surprise” that is created is also an attractive aspect of this type of art making. You can then discover/create things that you didn’t think of before, and then unexpected outcomes may also be problematic at times. But then you can use your problem solving skills and find a solution.
The reading drew to my attention that I should pay attention to wording. If something says that it is a “limited edition” that is not an “original”. Limited edition is something that has been copied by a commercial printer. Originals are signed and have an edition number on it.
Monotypes are a strange part of printmaking to me, because when I think of print making I think about duplicating an image multiple times, and monotypes are unique creations that you can make doubles of but it would never be exactly the same.
Learning the time-consuming step by step printing process actually helps artist that are painters and sculptures better understand what they are doing technique-wise and concept-wise. Printmaking is a great way for different types of artists to convey their ideas and thoughts. The process and end result are very tactile and fulfilling.
1. ART LIFE AND SKILL
All of the ink was mixed in bulk for multiple prints, which makes sense but also seems like an easy way to waste ink. You could create layers just as in Photoshop, but with a bit more effort. To make prints you have to think I different way then when drawing, you have to have a clear vision of your final piece before you begin the process, otherwise it would be a chaotic mess.
While observing a day in the life of a printmaker one artist in particular caught my attention. John Cage had begun to make bread at Crown Point Press. He says, “art and life were very close together, and skill was mainly what separated them.”
Printing workshops were open for hourly fees, and those who worked there would do the printing for others if they could pay. Then you get into the issue of who is the real artist if you did not make it with your own hands, and just came up with the concept.
2. FINE ART PRINTMAKING
The fact that the image from which all of the “impressions” (rather than saying copies) are made is called the Matrix —Latin word for mother is very awesome.
Andrea D'Alfonso (part 2)
ReplyDeleteI found it interesting that the matrix is destroyed when the edition is done and printed that way more cannot be made. I think that is very smart.
The reasoning behind “limiting the edition is to distinguish fine art prints from commercial reproductions.” I never thought about that either and I thought that was clever
I thought there was only one way to make a proof but evidently there are three ways: working proofs, artist’s proofs, and trial proofs.
When Richard Diebenkorn got stuck while making a painting, he would take a break and do some etching, I guess what was needed was to take a step back. It is an absolutely brilliant plan to use a mirror when you are making a print such as Diebenkorn did while he painted, since the image will come out in reverse.
3. WAYS OF PRINTING, SOME THOUGHTS ON AUTHENTICITY
The way in which types of prints are categorized and used was noteworthy; Relief: when you print form a raised surface and the ink lies on top of the 3D matrix., used to make books and magazines. Intaglio: when you print from the parts you carved out and the ink lies in the grooves, used to duplicate works of art.
Old presses being “famous” is a cool idea. The rotogravure was one of the legendary ones; nowadays it is used for making packing materials.
Crown Point Press seemed like a place where you could do any printing process imaginary, but this was false, they don’t do lithography or silkscreen.
Everyone was making a big deal about how in printmaking the image you create is the reverse image. However for screen-printing it does not reverse the image. It is the only printing process that does so.
Pop art is associated with silkscreen printing. Made well know by Andy Warhol and his Coke bottles and Soup cans. I learned that there are names for prints made from prints—an offset.
“What makes a work of art authentically that of the artist?” the question is raised—can you copy from your previous artwork? And improve on your idea or concept or is that thought of as cheating? Wayne Thiebaud thought it was fine, with the concept that “changing anything changes everything” in mind. I agree.
That’s really strange that Salvador Dali signed the paper before his prints were put on it. Then you have placed your approval on something that doesn’t even exist yet, in fact you placed your approval on something that has the element of surprised involved too!
The part I find most intriguing is not that of the art making process but rather what series of events came together for her to have the means to create prints. It seems so often we, as college students, get caught up in the final product or getting where we see ourselves in ten years, that we do not let life take its course. Especially today, in the fast paced, globalized society, people plan out their lives from elementary school. Kathan Brown inspired me in her romanticized two-month trip on a freighter with her newly acquired etching press materials. Something I could personally focus on in not only my art making process but my life is the quote, “I hadn’t made plans for the future (14).” This is a non-existent thought in my life that I would like to make space for.
ReplyDeleteAnother point raised that I could appreciate as a perfectionist is the idea of calling prints multiple originals rather than copies. When the expectation of making multiple prints is to get ‘copies,’ my heart murmurs at the possibility of failure. By labeling the process, ‘multiple originals,’ the pressure is reduced and I am able to concentrate more on the art of print making rather than the final product expectations.
One point I am unfamiliar with is the difference between AP (artist’s proofs) and TP (trial proofs). I hope to clear this up in relation to my current project in class.
What I found most interesting about these readings was actually the part where Brown discusses the different artists and people she collaborated with. The part that really stood out to me the most was the point where she explains how Thiebaud told a group of students to disregard creativity, emotions, and individualism and instead worry about finding something you are good at. I related most to this section because Thiebaud is primarily a drawer, not printmaker, which I can relate to. I also take his comments towards "finding something you are good at" as very indicative of how I have treated this semester; it's been very experimental and trial-and-error as far as processes I've used go. Since graphic design is something I am good at (more-so than etching) I have moved away from the techniques I used in my first project and instead embraced using flat, digitally-manipulated photographs throughout my series. Discovering monotype also allowed me to take something that I am trying to be good at (painting) and utilize it towards a printmaking technique, much like how Thiebaud utilized etching due to the fact that he was primarily a drawer.
ReplyDeleteI just find it fascinating to hear about the lives of successful or inspirational artists, especially when I can take something away from what they are saying or find a part of myself within them.
- Kelly B