#digital chine colle

[kellyschultzart-blog]

A print from 2016. I can feel these ideas bubbling back up in my current work

[niamhandersonart]

Mark Graver

Mark Graver is a digital printmaker who attained a masters degree at Camberwell college of Arts in London in 1995. Gravers work took form of photocopied elements, often handwriting of poets, writers and philosophers that were collages using chine-colle into etchings as a form of abstract portraits.

More recently mark has been using digital processes to make photopolymer etchings. A uv sensitive film is laminated to a metal plate, exposed under uv light with acetate over it. After washing out the protected areas the plate is etched and printed, sometimes combined with hand drawn second plate.

The Umbra Sumus series uses these techniques with most of the images starting out as photos that are manipulated and printed onto acetate for exposure.

Printmaking has always been forefront of new technologies and print artists have embraced the new methods and tools as they have evolved. Digital technology is simply another tool in the artists studio. Keep in mind it’s about the quality of the images not the techniques used to make them.

Graver purchased a professional archival inkjet printer to purely make digital works. Mark Graver thinks using digital processes in his work is the same as using an etching plate or woodblock before printing. The prints taken and the work is as original as any other printmaking process.

In my opinion I think Mark Graver’s work is intriguing with the processes he uses. I like Graver’s work and it inspires me to be more creative when I’m working with digital processes.

[lattesehuns]

melissa ortiz, marina via brenda, photoetching with digital chine colle on 18″ diameter copper, March 2017

[please do not reupload/change source!]

[printmakersopenforum]

#PrintCamp2019 participant:

EMILY ORZECH

@eorzech

WEBSITE:

emilyorzech.com

ON HER WORK:

I am currently working on a series, "Family History", which catalyzed by my late partner’s illness and my experience navigating the healthcare system. I am interested in the liminal spaces we inhabit in the process of illness and caregiving. This liminal space combines at once the urgency of time passing and an intense focus on the present, on the daily processes of living. Memory of this time is mutable, fabricated out of visual fragments and habitual gestures, like a muscle memory that lingers long after the events have passed. In Turn I re-enacted the motions of turning someone over using a blanket. Since my memory is of the physical motion rather than of a particular moment, I photographed myself re-performing these actions and then transformed these gestures into screenprints. In other prints, such as Bath, space itself is pieced together out of memory and a few photographs. Some colors and textures are heightened, some sections are elided to fit the room within the space of the panel. I translate these photographs into screenprints and transfer them onto panels with upwards of thirty layers of ink. Because of the hardness of the ink I am able to selectively sand the print, revealing the layers below. In this way I am able to work using both additive and subtractive methods, which is unusual for the medium. The layering and sanding away of these images collapses the passage of time and mimics the simultaneous clarity and intangibility of memories. There is slippage between the layers and within the memory itself. Memories become visual objects in the present moment transformed by in the very process of creation. 

 While the initial body of work involves unique layered and sanded screenprints on panels, I am interested in developing a way to create similar editioned work at a much larger scale and making use of the 72-inch press bed and our Epson 9900 printer at the college where I teach. I have realized one of the components I am most interested in with this body of work is the interplay between the painterly marks created by the sanding and the photographic halftone, suggesting a point of departure for new prints that contain these two qualities but expand in terms of the type of media being used.

ON WHAT SHE WILL BE DOING AT PRINTCAMP:

While at Print Camp my goal would be to explore how I could combine a second form of printmaking (etching or lithography) perhaps through chine colle, as a way to expand this language of painterly mark making in conjunction with the half tone of the screenprint in an editioned form. I am particularly drawn to the experimental and collaborative nature of print camp and the opportunity to share ideas with other printmakers as a way to push the boundaries of my work in terms of both scale and the combination of print media. I would plan to work on permutations of one print - coming in with a set of digital imagery and transparencies which I would use in conjunction with experimentation in one or more other print media. The goal of the workshop would be to return to my studio with new strategies for layering and combining print media which I would then apply to new editioned work. I am particularly interested in the way I can use the tension between the painterly and digital mark as well as between different layers of print media to echo the gaps and inaccuracies of memory.

SKILLSHARE: For my skill share I would demonstrate the process of sanded screenprint which I have been using in my work to create layered, painting like prints. This technique was originally developed by Dennis O'Neil. I have modified the technique to work on panels, which I layer and sand selectively.

RESUME:

Education

 MFA School of Art and Design, U of Michigan, Ann Arbor MI

BA Smith College

2006, Semester Abroad, SIT Yunnan, Kunming, China

 Employment

 2013-Present Assistant Professor of Printmaking, Department of Art, Muhlenberg College    

2011-2013 Lecturer in Printmaking, Photography, and the Honors Program, University of New Mexico

2008 Intern, Red Gate Gallery: 798, Beijing

        Solo Shows

 2019 The Time Being, Oresman Gallery, Smith College

2017 Rush Hour, 2.04 Gallery, St Petersburg Russia

2017 Selected work from the Translated Cities series, Crane Arts and Crane Old School Gallery, Philadelphia PA

2017 Public/Private, the Banana Factory and ArtsQuest, Bethlehem PA

2015 Urban Village, Gatewood Gallery, University of North Carolina Greensboro NC

2015 Outskirts, Martin Art Gallery, Muhlenberg College, Allentown PA

2013 Featured artist, the View on Elm, Greensboro NC

 Juried and Invited Shows

 2018 Okanagan Print Triennial, Kelowna Art Gallery, British Colombia, Canada

2018 Small Talk, Seraphin Gallery, Philadelphia, PA    

 2017 Great Lakes Drawing, Eastern Michigan University School of Art and  Design, Ypsilanti, MI

2016 The Winter Show, GreenHill Center for NC Art, Greensboro, NC

2016 Philadelphia Open Studio Feature Exhibition, Philadelphia City Hall, Philadelphia, PA

2015 Ink! (jurors: Amze Emmons, Assistant Professor, Tyler School of Art, R.L. Tillman, Maryland Institute College of Art, and Jason Urban, the 

University of Texas at Austin) Slipe Gallery, Hartford, CT    

2014 The Floating Library, book, (juror: Sarah Peters, artist), Cedar Lake and Lake Winona, Minneapolis, MN

2012 No Place Like Home, (curated), show and benefit auction for Sawmill Land Trust, Albuquerque, NM

2011 The First Beijing 798 International Print Expo, (curated by faculty at the Central Academy of Fine Arts), Beijing, China

International Contemporary Art Exhibition, (curator: Zheng Xuewu, artist), Daqing Normal University, Daqing, China

2011 Prevailing Impressions, (curator: Liz Chalfin, Director, Zea Mays Printmaking), Zea Mays Printmaking Gallery, Florence, MA

2010 Drawing Discourse: National Juried Drawing Exhibition, (juror: Deborah Rockman, Professor, Kendall College of Art and Design), University of North Carolina, Asheville, NC

2010 28th Annual Print Exhibition, (juror: Endi Poskovic, Professor University of Michigan) Ann Arbor Art Center Gallery, Ann Arbor, MI

 http://printmakersopenforum.org/printcamp_all_print_media_workshop

[shalmaliart]

Printmaking

This article that I contributed for Art Dose Issue 2, explores the contemporary uses of Printmaking, touching upon certain aspects and challenges that the industry is facing today.

The images used are my prints from 2015: it’s an example of the digital incorporated into the process of traditional printmaking. Black and white digital photographs were printed on OHP sheets and heat-transferred onto zinc plate surfaces. Subsequently, I worked on the composition using traditional printmaking techniques of etching, aquatint and chine-colle.

[andren]

Due East over Stokes Mountain. Digital, lithograph and chine colle

[stillellensibley]

12 Objects, 12 Etchings

by Rachel Whiteread, 2010

Whiteread’s previous print project with Paragon, Demolished, was published in 1996, more than a decade before. It was the artist’s first portfolio of prints, containing screenprints of photographs she had taken of buildings being demolished in the London borough of Hackney. Charles Booth-Clibborn was keen to work with Whiteread again, but a succession of large-scale commissions had put heavy demands on her time. It was only in the autumn of 2009, while working on an exhibition of her drawings at Tate Britain, that Whiteread found a suitable subject for her next portfolio. As part of the exhibition she curated an installation of objects, displayed in a wall cabinet in the last room of the show. This contained a selection she had either made herself or gathered over the years and which are a vital part of her practice. The artist’s studio, where these items are usually kept, is something of a contemporary curiosity cabinet of everyday abandoned objects salvaged by Whiteread. It is a highly personal repository, from which she draws her inspiration, and normally not shared with the wider public. Whiteread allowed the objects to leave the confines of her studio for the first time, to be displayed alongside her drawings. The exhibition catalogue included a visual essay by Whiteread put together from her collection.  For this she had the objects photographed, either individually, or grouped together by scale, material or theme, and then further carefully arranged the group photographs. Some recall Vanitas still lifes of the seventeenth century, while others bring to mind specimen displays in natural history museums. Together, the essay and  vitrine revealed the breath and depth of her collection.

For her new print project she selected 12 items that were to be issued in a portfolio of photogravure etchings. To that end, Whiteread provided Mike Taylor of Paupers Press with digital files of photographs of the objects, which were transferred to  film needed to make the photogravure plates. Mike Bruce of Gate Studios, London, had originally shot all objects against a neutral white background. The colouration of the etchings was achieved through additional colour plates, using aquatint, often in combination with additional chine collé. At the initial stage of the project, Whiteread spent three days with Paupers Press determining the colour palette.

She stipulated a range of pastel tones to be used for the colour proofing, and a combination of different colours, sometimes on chiné colle, for each object was printed in trial runs. From these proofs Whiteread selected a group that, she felt, best achieved the harmonies she sought to create. Further tweaking was required and for some prints this involved adding a second aquatint plate to strengthen the background tones of the objects or to add an additional tone to highlight certain areas. The order of printing was by and large the following: first the plate with flat aquatint for the background hue, second the aquatint supporting and strengthening the object and last the photogravure plate of the object itself.

The portfolio of 12 Objects, 12 Etchingsfunctions like a permanent index to Whiteread’s collection. The mixture of objects ranges from instantly recognizable and mundane items, such as a jelly mould and a light switch, to the weird, wonderful and outright unidentifiable. Untitled 01 shows one the artist’s very early casts, of a swimming cap, that she had made during a bronze-casting course. The vantage point, texture and colour evoke ancient excavated vessels rather than rubbery headgear, obfuscating our reading of the object.

Using delicate and subtle tints, Whiteread has softened the solidity of her objects, thereby placing them in a realm somewhere between photography and drawing. 12 Objects, 12 Etchings is a collection of objects, each with its own history waiting to be told. Some of it is known: Untitled 11 depicts a cast of the artist’s own ear, and its emotional resonance can be felt once this identity is revealed. Others are anonymous; summoned as witnesses, they stir up memories of other peoples’ lives. Seizing the space between reality and imagination, Whiteread creates poetry with the overlooked details of human life.

The objects used for the portfolio were:

01: a resin cast of the inside of a milk-bottle

02: a life-size model of a brain

03: a cast of a swimming cap

04: a wooden branch shaped like a gun

05: a ceramic jelly mould

06: a piece of string

07: a cluster of rusted molten iron

08: an ashtray

09: ceramic insulator

10: transparent glass paperweights and a glass ball

11: a bakelite light switch

12: a bronze cast of the artist’s ear

Source

[friedameaney]

Boiler Room Gallery. Blue House Gallery, Schull, Co.Cork .        June/July  2019

 ‘BETWEEN’

 I continue to address the pertinent problems of the ecosystem and extinction caused by the climate crisis. Once again I reference Darwin and his theory of evolution.

In creating an artificial environment in the form of the aquarium piece

‘This is my final offer’ I look at how, in a crowded environment, the way to avoid competition is to evolve to become different from other, similar life forms to oneself.

I use the Chameleon lightbox to represent mimicry where one’s behaviour passively and unintentionally changes to match that of others in one’s current social environment. According to some scientists a chameleon’s skin changes colours in response to it’s emotions, such as anger or fear, changes in light, temperature or humidity.

The more traditional prints on paper express the crepuscular world found between night and day, earth and sea.

I admit to often being drawn to in- between worlds, the transitory, fleeting, elusive elements of sea and sky.

The beauty of this world of ours is that it cannot be permanently possessed.

[galeriedescuriositesuniverse]

MIME @mimeparis . Mime est un artiste Français résidant à Paris. Après des études dans le digital et le marché de l’art en design et en art contemporain, il décide, en autodidacte, de se mettre au collage qui est devenu son obsession. Mime puise ses ressources au gré de ses voyages et des librairies de seconde main visitées. Il feuillète, source, chine, découpe, recoupe, cache, colle les bustiers et visages de tout temps, toute époque. Ses collages reflètent son humeur ou les expériences marquantes de sa vie. Ses 3 principales inspirations : l’esthétique égyptienne, antique et l’architecture d’avant et d’aujourd’hui. . #galeriedescuriosites #collagiste #artistefrancais #collageartist #analogphotography #analogcollage #visualart #collage_art #decorateurinterieur #artgallery #handmadecollage #graphicdesign #surrealcollage #frenchartist #aintbad #collectart #artiste #artgallery (à Paris, France) https://www.instagram.com/p/B6dX2ftoYz8/?igshid=cwbe1ipcjyfy

[moodoofoo]

Jim Hodges finally, 2017 aquatint, chine colle, digital pigment print, hologram, intaglio, mixed media, screenprint 43 x 33 cm edition of 28

[thepostdigitalprintmaker]

Jay Judge

Please enjoy these wonderful examples of the post digital printmaking concept by a fellow artist member of the Manhattan Graphics Center.

Substrata1. (“Architecture of Air” digital image for photo litho/chine colle collage)

Substrata 2. (“Berlin Air: Kreuzberg Skylight” digital image for metallic paper output)

With Photoshop I strip images I’ve “appropriated” to simplified elements that are collaged in multiple layers. I think of these as substrata—like a rich surface on which to begin. Sometimes I fold, cut, tape, paint or draw on them… Then rescan or rephotograph them only to begin the process again. Analog to digital and back again. From the layers comes the film separations to make silkscreen and photo litho prints. This aspect of the process can have a multitude of elements. And within each element there could be multiple passes of ink to get the right “underpaint” to support a surface color effect or texture.- JJudge

Contact:

Instagram @jjudg

manhattangraphics.org member highlights

E-mail: jayjudge@nyc.rr.com

[jerrydifalco]

Printmaking: Etching, Aquatint, Oil, Ink, Paper on Paper, Other.

ABOUT THE ARTIST’S ETCHINGS: DiFalco first creates a number of original drawings, which are usually based upon the narrative and documentation-centric images, which he discovers through his research into the photographic and digital archives of universities, libraries, governments, and historical societies. Herein now, the artist outlines some details about his ETCHING process to explain to you about the complexities, nuances, and time consumed in creating just one etched print. Quote from the Artist—“I work on a metal etching plate—usually zinc—and begin by filing its sides and corners to forty-five degree angles; the tool used for this is called a flat, metal bastard file. My plate is then cleaned of all dirt and grease; and next, it is coated with a ground of mineral spirits and beeswax, which dries for a period of eight hours. I then “draw” into the ground with various tools, including needles, working from my original drawings or the graphic transfers of said drawings. My next step involves placing the zinc plate, which now contains lines and other exposed metal areas, into a bath of spring water and Nitric acid. This intaglio process lasts for a period of seconds to minutes, before the plate is then removed from the acid and rinsed with tap water. Turpentine and alcohol are then applied to the plate to remove the ground, thereby exposing the “etched” areas and lines. The plate is ten washed and coated again with a ground for the next working. Shaded areas can be created through the AQUATINT process, which uses pulverized resin crystals. The acid bath again reworks the plate, which is again cleaned, and reworked. If I wish, an etching needle may be used to draw directly onto the ungrounded plate (DRYPOINT). This process can involve many more steps and tools, depending upon what the artist desires. After several re-workings, the plate is then applied with etching ink and wiped before it is run through the printing press.” The full title is: “Mandarin China Moon 1948”, a part of The Chinatown Series, Print Number TWO of FOUR in Edition Four of Five. This particular etching of Race Street in Philadelphia’s Chinatown area was created with the studio techniques of aquatint, intaglio, drypoint, and Chine collé. The zinc etching plate measured ten inches high by eight inches wide, which is consequently the image size. French, oil base ink (Charbonnel brand from Paris) was used, as well as RivesBFK white printmaking paper. The print size measures about fifteen inches by eighteen inches high. Artist Quote: “This hand-pulled print required a total of eight individual baths in Nitric acid for me to achieve the final design. I first created two original drawings from which to work, and based these drawings on a photograph from the Free Library of Philadelphia’s digital collection. This photo was taken in 1948 by the firm of Parker & Mullikin and features The South China Restaurant, 913 Race Street. This print highlights the 4th EDITION of 5 EDITIONS, and each of the FIVE editions is limited to only four etchings. Each edition is executed in a different ink and paper color combination. Therefore only a total number of twenty etchings, in four groups of five different colors, exist. The work demonstrates DiFalco’s expert use of the manipulation of both light and shadow, as well as his skill in creating visual illusions through detailed line. The moon and restaurant sign, colored Aegean Green and purple respectively, was created via the Chine colle etching process—pronuunced Shin-Kō-lay—translates from French as Chinese Pasting. This technique uses mulberry bark paper and is explained in detail later. The artwork comes complete with an archival mat and painted wood frame that measures twenty inches high by sixteen inches wide. A protective, brown paper frame backing is glued securely to the work. The price also includes the shipment carton, all shipment costs, all protective and weatherproofing packing materials, and a Certificate of Authenticity signed by the artist. The ink employed, Charbonnel brand, was manufactured in Paris, and the color was a created blend of six different colors. The white paper DiFalco used was RivesBFK brand, also made in France. This pre-torn paper is soaked in a water bath for about twenty to thirty minutes to soften its texture and remove any sizing. It is then blotted dry between two bath towels with either a rolling pin or a direct hand-pressured massage. Di Falco used an industrial, floor model Brand printing press, manufactured in New York City. He completed this 4th Edition at The Center for Works on Paper in Philadelphia, Pennsylvania, which is associated with the Fleisher Art School’s Open Printmaking Studio for Professional Artists. DiFalco monitors the studios here and also acts as a mentor to the workshop artists. The following outlines DiFalco’s Chine collé, or Chinese Pasting, etching technique. Chine Collé, which translates from the French as Chinese pasting, is a process in which colored and treated paper is attached to the etching plate before the printing press is activated. Di Falco mixes Methylcellulose powder with spring water and then paints the resulting clear viscous substance onto hand-dyed, Unryu brand mulberry-bark paper from Thailand. NOTE: In Japan, Unryu translates as CLOUD DRAGON paper because it contains long swirling threads of kozo fibers integrated in it, thereby giving the texture and visual effect of clouds. Kozo fibers come the branches of the kozo bush, specifically the innermost of three layers of bark, which must be removed, cooked, and beaten before the sheets are formed. Kozo is harvested annually. The treated Thai paper is then allowed to dry overnight, and DiFalco cuts it to fit over the plate areas where he wants different colors to exist within the print. These stenciled mulberry-bark papers are first dampened or misted with water and than (as the zinc plate sits on the printing press) is placed upon the already inked and wiped etching plate. The printing process continues, and DiFalco creates a multi-colored and hand-printed etching.

[printrg-blog]

These are all the collages and their sizes.

Mohammad Ali & Sonny Liston Vs with The Simpsons, 6x8, digital print collage

Lisa Simpson collage, 5x5, digital print collage

V-J Day in Times Square Vs Rick & Morty, 5x7, digital print collage

Marilyn Monroe Vs Mr Burns, 5x7, digital print collage 

Healthy food Vs Homer Simpson, 5x5, Chine Colle with multiple mediums 

Ive used this project to experiment and just had fun with it. The scenes are historical black and white prints and by inserting new coloured media reflects on traditional print making techniques with the inclusion of having cultural context with the actual scenes being re-represented. I am really happy with the collages I have produced. I think they are fun and entertaining yet still capture print making techniques. 

[printmakersopenforum]

#PrintCamp2019 June 1 - 9, 2019

Applications Due by March 15, 2019

#PrintCamp2019 All Print Media hybrid Workshop/Residency Summer 2019 is a hybrid resid3ncy/workshop for serious established artists and printmakers who want to expand their practice.  The intent is to create a coherent, hard- working/learning printmaking community under the direction of Shelley Thorstensen.

  Six participants are chosen through application. Applicants are asked for a proposal in part so that the workshop is weighted evenly in terms of media – and one area is not used or neglected more than another. This will ensure the best use of the shop and materials.

  In the mornings, Shelley Thorstensen will begin the workshop with a series of demonstrations and ideas on printing, intaglio, lithography and silkscreen combinations - stencils, a la poupeé, chine collé, viscosity, multiple plates, relief, collage, and digital media.  

Possible topics that could come up are how to seamlessly incorporate handwork such as drypoint and mezzotint on various substrates, editioned monoprint, paper and polyester photo litho, hand-worked and photo based collagraphs, photocopy transfer, handmade rubber stamp patterning for chine colle, registration systems that are best suited to individual needs, considerations for content, scale, series, multiplicity, format, paper choice, and available matrices.

  Participants can work in one or more of these mediums, in combination or separately: Etching on copper, drypoint on plexiglass, stone/plate/photo/prontoplate lithography, silkscreen,wood/lino cut, plaster prints, monoprints, gelatin prints.

 All participants will camp on the grounds next to the house and the 2000 square foot print shop. Camping makes the workshop less expensive than staying in motels, creates an all day experience and promotes a strong printmaking community. This is not a wilderness adventure! The property is a secluded acre on the edge of Oxford. There are showers, and bathrooms, the kitchen is open, there’s password protected wifi and we’re less than ten minutes walking distance to downtown. PMOF will supply the tents and the air mattresses.

Want or need to bring someone with you? Please email - it can probably be arranged! (but no pets, please) 



Camping:

PMOF supplies the tents and air mattresses. There is shower for use, a refrigerator and a second bathroom in the shop.  Use of the kitchen in the house is available to everyone.  

 Transportation:

Printmakers Open Forum is located at 120 West Lancaster Pike, Oxford PA USA 19363, one hour west of Philadelphia in rural southern Chester County. 

If you do not have a car, we can arrange to pick you up from Philadelphia, Baltimore or Newark DE. The town of Oxford, with restaurants and shops, is a mile walk or a quick drive.

 Particulars:

The printshop is open after hours on a buddy system basis. There will a PRINTCAMP monitor to oversee after hour work in the shop.  Drugs and alcohol are not allowed at the camp and all participants are expected to act responsibly.

 Skill Share: 

At the start of the workshop, we ask you to share something print-related that you know with us – demo or images/powerpoint.

 Critique Opportunity:

Toward the end of the workshop, we will have a guest critic here for a casual conversation about your work and direction over dinner. Critics for #PrintCamp2019 will be Ann Shafer and Tru Ludwig. Read more here

 Goals:

We are aiming to create community that organically continues beyond the time frame of PRINTCAMP.

 Cost:

The cost of the workshop is $500 plus $80 lab fee. Camping onsite defrays workshop expenses by eliminating lodging costs and creates a coherent, hard- working/learning community. 

 All Print Media:

You can work in one or more of these mediums, in combination or separately: Etching on copper, drypoint on plexiglass, stone/plate/photo/prontoplate lithography, silkscreen, wood/lino cut, plaster prints, monoprints, gelatin prints. You are asked for a proposal in part so that the workshop is weighted evenly in terms of media – and one area is not used or neglected more than another. This will ensure the best use of the shop and materials.

Application:

Last day for applications is midnight, Thursday March 15th.  Notifications will be sent within two weeks.  Confirmation of your acceptance is needed within a week of notification, otherwise your space cannot be held.  A $200 deposit is due one week after notification to insure your inclusion in the workshop. This deposit is not refundable.

 More information:

  For questions please go to www.printmakersopenforum.org/contact

 http://printmakersopenforum.org/printcamp_all_print_media_workshop

Please note:

Printmakers Open Forum LLC does not apply for or receive any outside grant funding. This workshop strives to be affordable as a concrete way to pay good fortune forward.

 Shelley Thorstensen, Director

Printmakers Open Forum LLC 

[lexievargaprints-blog]

“no!”