Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints with an element of originality, rather than just being a photographic reproduction of a painting. Except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a '''print'''. Each piece produced is not a copy but considered an original since it is not a reproduction of another work of art and is technically (more correctly) known as an '''impression'''. Printmaking (other than monotyping) is not chosen only for its ability to produce multiple copies, but rather for the unique qualities that each of the printmaking processes lends itself to.
Prints are created by transferring ink from a matrix or through a prepared screen to a sheet of paper or other material. Common types of matrices include: metal plates, usually copper or zinc, or polymer plates for engraving or etching; stone, aluminum, or polymer for lithography; blocks of wood for woodcuts and wood engravings; and linoleum for linocuts. Screens made of silk or synthetic fabrics are used for the screenprinting process. Other types of matrix substrates and related processes are discussed below.
Multiple impressions printed from the same matrix form an edition. Since the late 19th century, artists have generally signed individual impressions from an edition and often number the impressions to form a limited edition. Prints may also be printed in book form, such as illustrated books or artist's books.
Other types of printmaking techniques outside these groups include collagraphy, viscosity printing, and foil imaging. Collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process. Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes.
Many of these techniques can also be combined, especially within the same family. For example Rembrandt's prints are usually referred to as "etchings" for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all.
The artist draws a design on a plank of wood, or on paper which is transferred to the wood. Traditionally the artist then handed the work to a specialist cutter, who then uses sharp tools to carve away the parts of the block that will not receive ink. The surface of the block is then inked with the use of a brayer, and then a sheet of paper, perhaps slightly damp, is placed over the block. The block is then rubbed with a baren or spoon, or is run through a printing press. If in color, separate blocks can be used for each color,or a technique called reduction printing can be used.
Reduction printing is a name used to describe the process of using one block to print several layers of color on one print. This usually involves cutting a small amount of the block away, and then printing the block many times over on different sheets before washing the block, cutting more away and printing the next color on top. This allows the previous color to show through. This process can be repeated many times over. The advantages of this process is that only one block is needed, and that different components of an intricate design will line up perfectly. The disadvantage is that once the artist moves on to the next layer, no more prints can be made.
Another variation of woodcut printmaking is the cukil technique, made famous by the Taring Padi underground community in Java, Indonesia. Taring Padi Posters usually resemble intricately printed cartoon posters embedded with political messages. Images—usually resembling a visually complex scenario—are carved unto a wooden surface called cukilan, then smothered with printer's ink before pressing it unto media such as paper or canvas.
Gravers come in a variety of shapes and sizes that yield different line types. The burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. Other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects.
To make a print, the engraved plate is inked all over, then the ink is wiped off the surface, leaving only ink in the engraved lines. The plate is then put through a high-pressure printing press together with a sheet of paper (often moistened to soften it). The paper picks up the ink from the engraved lines, making a print. The process can be repeated many times; typically several hundred impressions (copies) could be printed before the printing plate shows much sign of wear, except when drypoint, which gives much shallower lines, is used.
In the 20th century, true engraving was revived as a serious art form by artists including Stanley William Hayter.
Etching prints are generally linear and often contain fine detail and contours. Lines can vary from smooth to sketchy. An etching is opposite of a woodcut in that the raised portions of an etching remain blank while the crevices hold ink. In pure etching, a metal (usually copper, zinc or steel) plate is covered with a waxy or acrylic ground. The artist then draws through the ground with a pointed etching needle. The exposed metal lines are then etched by dipping the plate in a bath of etchant (e.g. nitric acid or ferric chloride). The etchant "bites" into the exposed metal, leaving behind lines in the plate. The remaining ground is then cleaned off the plate, and the printing process is then just the same as for engraving.
Mezzotint is known for the luxurious quality of its tones: first, because an evenly, finely roughened surface holds a lot of ink, allowing deep solid colors to be printed; secondly because the process of smoothing the texture with burin, burnisher and scraper allows fine gradations in tone to be developed.
The mezzotint printmaking method was invented by Ludwig von Siegen (1609–1680). The process was used widely in England from the mid-eighteenth century, to reproduce oil paintings and portraits.
Goya used aquatint for most of his prints.
The technique appears to have been invented by the Housebook Master, a south German fifteenth century artist, all of whose prints are in drypoint only. Among the most famous artists of the old master print: Albrecht Dürer produced 3 drypoints before abandoning the technique; Rembrandt used it frequently, but usually in conjunction with etching and engraving.
A variant is photo-lithography, in which the image is captured by photographic processes on metal plates; printing is carried out in the same way.
Screenprinting may be adapted to printing on a variety of materials, from paper, cloth, and canvas to rubber, glass, and metal. Artists have used the technique to print on bottles, on slabs of granite, directly onto walls, and to reproduce images on textiles which would distort under pressure from printing presses.
Unlike monoprinting, monotyping produces a unique print, or monotype, because most of the ink is removed during the initial pressing. Although subsequent reprintings are sometimes possible, they differ greatly from the first print and are generally considered inferior. A second print from the original plate is called a "ghost print" or "cognate". Stencils, watercolor, solvents, brushes, and other tools are often used to embellish a monotype print. Monotypes are often spontaneously executed and with no preliminary sketch.
Monotypes are the most painterly method among the printmaking techniques, a unique print that is essentially a printed painting. The principal characteristic of this medium is found in its spontaneity and its combination of printmaking, painting, and drawing media.
Pigment is a finely ground, particulate substance which, when mixed or ground into a liquid to make ink or paint, does not dissolve, but remains dispersed or suspended in the liquid. Pigments are categorized as either inorganic (mineral) or organic (synthetic).
A pigment, such as red iron oxide (rust) is simply an oxidized form of iron. One could leave iron, lead, or gold in the sun for a million years and they would never change color or change into another substance. In contrast, man-made synthetic and vegetable water-soluble dyes can fade rapidly, often within one to six months.
The reductionist approach to producing color is to start with a lino or wood block that is either blank or with a simple etching. Upon each printing of color the printmaker will then further cut into the lino or woodblock removing more material and then apply another color and reprint. Each successive removal of lino or wood from the block will expose the already printed color to the viewer of the print. Picasso is often cited as the inventor of reduction printmaking, although there is evidence of this method in use 25 years before Picasso's linocuts.
The subtractive color concept is also used in offset or digital print and is present in bitmap or vectorial software in CMYK or other color spaces.
This can vary considerably from process to process. It generally involves placing the substrate, generally paper, in correct alignment with the printmaking element that will be supplying it with coloration.
Whereas in the past printmakers put their plates in and out of acid baths with their bare hands, today printmakers use rubber gloves. They also wear industrial respirators for protection from caustic vapors. Most acid baths are built with ventilation hoods above them.
Often, an emergency cold shower or eye wash station is nearby in case of acid spillages, as well as soda ash- which neutralizes most acids. Some printmakers wear goggles when dealing with acid.
Protective respirators and masks should have particle filters, particularly for aquatinting. As a part of the aquatinting process, a printmaker is often exposed to rosin powder. Rosin is a serious health hazard, especially to printmakers who, in the past, simply used to hold their breath using an aquatinting booth.
Barrier cream is often used upon a printmaker's hands both when putting them inside the protective gloves and if using their hands to wipe plates (wipe ink into the grooves of the plate and remove excess).
Sterile plasters and bandages should always be available to treat cuts and scrapes. For example, zinc plates can be extremely sharp when their edges are not beveled.
Printmaking organizations
* Category:Printing Category:Art media
be:Эстамп be-x-old:Эстамп bs:Štampanje bg:Печатна графика cs:Tisk de:Drucktechnik es:Técnicas de impresión fa:گراورسازی fy:Printtechnyk gl:Técnica de impresión ko:판화 hr:Grafičke tehnike id:Seni grafis it:Stampa (arte) he:הדפס lv:Estamps lt:Estampas nl:Druktechniek ja:版画 ru:Эстамп simple:Printmaking sh:Grafičke tehnike fi:Taidegrafiikka uk:Естамп vi:Đồ họa in ấn zh:版画This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
name | Mattias Eklundh |
---|---|
background | solo_singer |
born | October 06, 1969 |
instrument | Vocals, Guitar, Bass, Drums, Keyboards, Kelstone |
genre | Progressive metal, Fusion, Experimental, Heavy metal, Jazz rock, Speed metal, Power metal, Hard rock |
occupation | musician, songwriter, producer |
associated acts | Freak Kitchen, Planet Alliance}} |
Mattias "IA" Eklundh (born 1969 in Gothenburg, Sweden) is a guitarist and vocalist, known for his work with the bands Freak Kitchen, Frozen Eyes, Fate, The Jonas Hellborg Trio, and Art Metal; he has also released several noted solo albums. He was also prominently featured playing his trademark-style solos on 3 Soilwork albums.
In the mid-80's, Mattias formed the band Frozen Eyes. Frozen Eyes split up soon after their self-titled album was released in 1988 and Mattias subsequently joined Danish metal band Fate as lead guitarist. Mattias appears on their 1990 album ''Scratch 'n Sniff''. He later returned to Sweden, forming his own band Freak Kitchen in 1992 with former Frozen Eyes drummer Joakim Sjöberg and bassplayer Christian Grönlund. The band played together for 8 years, until Sjöberg and Grönlund left in 2000, only to be replaced by Christer Örtefors and Björn Fryklund.
Outside of Freak Kitchen, Eklundh has recorded several solo albums, and made appearances as a guest musician for Swedish heavy metal bands like Evergrey and Soilwork. His two ''Freak Guitar'' solo albums are released on Steve Vai's Favored Nations label, and include drawings and other artwork by friend Anders Nyberg. In 2005, he grouped with Swedish bass guitarist and composer Jonas Hellborg in the Jonas Hellborg Trio along with drummer Niclas Campagnol and played their first gig in Mumbai, India and followed with a tour of India. His album "Freak Guitar - The Road Less Traveled" features a rock/metal-like remix of not title theme, but the background theme from the 1985 film Fletch.
He also annually hosts and teaches at the Freak Guitar Camp. Mattias Eklundh endorses Caparison guitars, who make his signature Apple Horn guitar, and Yamaha Guitars for the company's unique Silent Guitar electroacoustic. He is also a long time user of Laney amplifiers, currently using a VH100R. Russian manufacturer AMT Electronics have created a signature overdrive/distortion pedal for Eklundh called the Freak Guitar. Recently, Mattias Eklundh became a devoted Kelstone user.
Category:1969 births Category:Living people Category:Swedish musicians Category:Swedish guitarists
de:Mattias Eklundh es:Mattias 'IA' Eklundh fr:Mattias Eklundh hu:Mattias Eklundh pt:Mattias Eklundh ru:Маттиас Эклунд fi:Mattias Eklundh sv:Mattias EklundhThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Dr. Atala continued his work in Tissue engineering and Printable organs at Wake Forest University in 2004. Dr. Atala led the team that developed the first lab-grown organ, a bladder, to be implanted into a human.
Aside from his ground breaking research, Dr. Atala also tends to clinical and administrative responsibilities. He operates regularly and runs a busy clinic at the North Carolina Baptist Hospital, the teaching hospital of the Wake Forest University School of Medicine. He is also in charge of a rapidly growing urology department and has been successful in recruiting other renowned faculty to Wake Forest such as Gopal Badlani, James Yoo and Gordon McLorie.
Along with Harvard University researchers and as described in the journal Nature Biotechnology, he has announced that stem cells with enormous potential can be harvested from the amniotic fluid of pregnant women. These amniotic stem cells are pluripotent, meaning they can be manipulated to differentiate into various types of mature cells that make up nerve, muscle, bone, and other tissues while avoiding the problems of tumor formation and ethical concerns that are associated with embryonic stem cells.
With respect to the amniotic fluid stem cells ("AFS" cells), Dr. Atala said the following:
"The cells come from the fetus, which breathes and sucks in, then excretes, the amniotic fluid throughout pregnancy;"
"Like embryonic stem cells, they appear to thrive in lab dishes for years, while normal cells, called somatic cells, die after a time ;"
"They are easier to grow than human embryonic stem cells. And, unlike embryonic stem cells, they do not form a type of benign tumour called a teratoma;" and
"A bank with 100,000 specimens of the amniotic stem cells theoretically could supply 99 per cent of the US population with perfect genetic matches for transplants."
Dr. Atala's work was seized on by opponents of the Embryonic Stem Cell Research Bill (a part of the 100-Hour Plan of the Democratic Party in the 110th United States Congress) as a more moral alternative. He wrote a letter saying, ''inter alia'', "Some may be interpreting my research as a substitute for the need to pursue other forms of regenerative medicine therapies, such as those involving embryonic stem cells. I disagree with that assertion."
;Peer-reviewed journals
Category:1958 births Category:Living people Category:Stem cells Category:Peruvian emigrants to the United States Category:University of Miami alumni Category:University of Louisville alumni Category:Harvard Medical School alumni Category:Developmental biologists Category:American scientists Category:Wake Forest University faculty
da:Anthony Atala ja:アンソニー・アタラThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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