Printmaking: Artists working in Etching

Kenji Ushiku, born 1922. Japanese.

440_artwork_file_1217621947
HANA-12-L, ETCHING, 13 X 10
(found here)

tree etching
(found here)

Megan Corbett
(website)
thumb_China_rabbit

Megan Corbett has created a series of etchings printed on hand made paper and fired clay. The artists’ inspiration evolved from collecting sea weathered china fragments found on beaches around Northland, New Zealand. The collecting of these pieces has become something of a treasure hunt for Megan and she has researched this topic for some years.

The artist has recreated designs from found china fragments onto her own ceramic pieces and zinc etching plates. The purpose of the work is to draw attention to ceramic sherds as an historical fragment of New Zealand’s colonial history.

Madeline Adams

Madeline-Adams-OR124679
Madeline Adams
O,R,1,2,4,6,7,9 – AP, 2006
Etching/Drypoint, 9 x 14″, page: 11 x 15″

Madeline-Adams-blg57a
Bl,G,5,7,a, 2008
Etching/Drypoint, 4 x 9″

This isn’t an etching, it’s sharpie on paper, but I really like it:
OLYMPUS DIGITAL CAMERA
Layers, 2005
Sharpie on paper, 15 x 22″

I don’t know if this actually is an etching, but it looks like one. It’s the album cover for the band Mountains in their album “Etchings”.
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Researching photographers who work with photopolymer

Barbra Sanders artist’s website

antler study
La Hacienda de los Martinez
image size 21 1/4” X 16 3/8 inches

cholla study
San Isadore Church
image size 21 1/8” X 15 1/4 inches

toil in repose
11 3/8” X 16 1/4”
edition of 10

Trace Nichols
illusion
Illusion is a dialogue between photography and museum dioramas. I’ve photographed a lot of that kind of thing and really considered the way the work talks about itself. I was also planning to use some stuff I photographed at the museum for my photo polymer plates, since our theme is “science,” so I’m really excited to find work by someone else who is exploring this same unique dichotomy.

Trace Nichols Artist Statement about Illusion:

While visiting the Denver Museum of Nature and Science several years back – camera in hand – I wound my way around to its numerous sets of dioramas. As with many other spectators there, I began to aim my camera through the glass and capture what I saw as compelling bits of story and history, hoping to create my own unique narratives. It dawned on me then that there was an interesting relationship between dioramas and photography, and how when combined a new dialog is formed.

When someone uses a camera to capture a diorama, what is the intention for that image: to express historic accuracy or to create individual fictions? Does the camera have the ability to inject life – a semblance of actual existence – into the constructed scene it captures?

In time, as I continued to explore these questions, my interest moved to a careful observation of what other visitors where seeing and doing when viewing these constructed spaces. I began stepping back a bit to include their presence within my compositions – not so outwardly as to make them identifiable, but rather a suggestion of their presence through a reflection, a shadow, a simple sign of the fabricated nature of the scenes.

My final addition to the dialog came in how I produced and presented the final images. Instead of printing them using contemporary means, I chose to use one of the most historic processes of photographic reproduction – the photogravure – to give the final images a more historic aesthetic, adding to its suggestion of authenticity – a record from the past.

As you view the works in this portfolio, think about these two methods we use to capture and recreate our realities. Consider how when combined, their union actually produces a more fictional narrative that is both drawn from our imagination and our innate desire to tell stories.

Jon Lybrook
artist’s website

Intaglio Photogravure Prints from Luminograms

These hand-printed variable editions are made by applying multicolored oil-based inks and blending them directly onto the plate. The plate is then printed onto art paper from an intaglio press.

Key Epiphany
Hand-printed variable edition intaglio print on silk

Nighttime Ember
Hand-printed variable edition intaglio print

Using Photoshop Threshold to Separate Colors for Screenprint

A classmate came up to me today and asked how to seperate black and white onto two different images to print them out. We discussed trading white for light grey since the lab doesn’t have white, but I couldn’t figure out how to do what she wanted.

Enter the google machine.

Using Photoshop Threshold to Separate Colors for Screenprint

I won’t be using this for screenprinting any time soon, but it could be useful for other photographic or graphic work in the future.

Chemigrams

I had the privilege of sitting in on Denis Roussel‘s photo I class for a session yesterday. His class was doing Chemigrams, something Denis hadn’t covered in the alternative processes class I took with him last semester. He caught up with me in the darkroom yesterday when I was adding cyanotype to this print and asked me to sit in and learn about chemigrams.

He did a quick lecture with resources to other artists working with chemigrams and gave us some references of images along with a tutorial. The how-to can be found here on alternativephotography.com (a great resource for anyone working in alt processes.

Here’s a basic rundown of the process, as written by Christina Z. Anderson:

The chemigram process was discovered by Pierre Cordier on November 10, 1956. It is a unique process that uses resists on photographic paper much the same way as wax is used as a resist in batik.

What Cordier discovered in 1956 was that a resist can hold back the chemical effects of developer and fixer on black and white photo paper for a time. Paper put into developer that has been exposed to normal room light for varying periods of time will turn black, except where a resist blocks the chemical reaction. The parts of the paper protected by the resist will continue to change color from extended exposure to room light, of course.

Likewise, paper put into fixer turns white, except where a resist blocks the chemical reaction. The parts of the paper protected by the resist continue to change color from the room light exposure, and suddenly there is the possibility of black, white, and colors in-between on normally monochrome paper.

With a back and forth from developer to fixer or fixer to developer, the resist begins to dissolve, so the next chemical bath either turns slowly exposing paper under the dissolving resist black (developer) or white (fixer) or some color in-between because of the now-lengthening room light exposure. With time this dissolution can be coaxed into creating beautiful, intricate patterns.

The chemigram process is actually very simple, using common household ingredients and common darkroom chemistry. There is no end to experimentation with this nonfigurative, physico-chemical process.

There are some great photos up there. I’ll put the ones I liked best here.


Chemigram by Cynthia Huber, handcoloured


Chemigram by Cynthia Huber, handcoloured


Chemigram by Cynthia Huber: stencils, coconut oil, varnish, sprays on both fixer and developer.


Chemigram by Patrick Rooney done with nail polish and then put through a mordancage solution.


Chemigram by Clare Parsons. “Face” is butter resist and then chemigram is mordancaged.

He also linked us to some work by Heather Oelklaus

These are my two chemigram experiments:

Reassembled

Justin Myer Staller
Assembled Plates
printed with Akua Intaglio Ink

“Marge” Twenty plates inked (bigger)
and reassembled into the full image.

“Bridge St.” Seven plates
assembled on the press bed.

Justin Myer Staller is a printmaker living in Philadelphia. He is an adjunct professor of printmaking at Arcadia University and is a member of Space 1026. Justin completed his BA from Penn State University and his MFA from the Rochester Institute of Technology.

Information retrieved from: Akua

This is a really interesting technique to work with, particularly in a self portrait when talking about a fragmented identity. It might be interesting to do some experiments in this style with c-printing from a single negative onto multiple pieces of paper. I think I have some 8×10 left from last semester that I could work with if I shot a roll. Something to consider.

Printmaking: Reduction cuts

Tonight, I worked on printmaking homework. My first assignment is to work on practice cuts to explore ways of using the printmaking tools. I knew right away that I wanted to do some trees, but I also made a lot of experimental lines, too. 

I looked at some example cuts and advice online. 

Here is Jodie Hurt’s fish, that I really liked:

 

I also found this nice step-by-step on how to transfer a drawing to a linoleum block because it’s been awhile since I’ve done it and I couldn’t remember if there was anything special I needed to do to make it happen.

Since I wanted to work on trees, I decided to google search “Aspen tree prints” to get an idea of how an actual tree would transfer into a print or drawing style with little shading. I found this beautiful print on etsy that I really liked:

And here’s my work as of about an hour ago, including the sketch: