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.

Techniques

Overview

Printmaking techniques are generally divided into the following basic categories:

Relief, where ink is applied to the original surface of the matrix. Relief techniques include: woodcut or woodblock as the Asian forms are usually known, wood engraving, linocut and metalcut;

Intaglio, where ink is applied beneath the original surface of the matrix. Intaglio techniques include: engraving, etching, mezzotint, aquatint, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include: lithography, monotyping, and digital techniques.

Stencil, where ink or paint is pressed through a prepared screen, including: screenprinting and pochoir

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.

Woodcut

Woodcut, a type of relief print, is the earliest printmaking technique, and the only one traditionally used in the Far East. It was probably first developed as a means of printing patterns on cloth, and by the 5th century was used in China for printing text and images on paper. Woodcuts of images on paper developed around 1400 in Europe, and slightly later in Japan. These are the two areas where woodcut has been most extensively used purely as a process for making images without text.

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.

Engraving

The process was developed in Germany in the 1430s from the engraving used by goldsmiths to decorate metalwork. Engravers use a hardened steel tool called a burin to cut the design into the surface of a metal plate, traditionally made of copper. Engraving using a burin is generally a difficult skill to learn.

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

Etching is part of the intaglio family (along with engraving, drypoint, mezzotint, and aquatint.) The process is believed to have been invented by Daniel Hopfer (circa 1470-1536) of Augsburg, Germany, who decorated armour in this way, and applied the method to printmaking. Etching soon came to challenge engraving as the most popular printmaking medium. Its great advantage was that, unlike engraving which requires special skill in metalworking, etching is relatively easy to learn for an artist trained in drawing.

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

An intaglio variant of engraving in which the image is formed from subtle gradations of light and shade. Mezzotint—from the Italian mezzo ("half") and tinta ("tone")--is a "dark manner" form of printmaking, which requires artists to work from dark to light. To create a mezzotint, the surface of a copper printing plate is roughened evenly all over with the aid of a tool known as a rocker; the image is then formed by smoothing the surface with a tool known as a burnisher. When inked, the roughened areas of the plate will hold more ink and print more darkly, while smoother areas of the plate hold less or no ink, and will print more lightly or not at all. It is, however, possible to create the image by only roughening the plate selectively, so working from light to dark.

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.

Aquatint

A technique used in Intaglio etchings. Like etching, aquatint technique involves the application of acid to make marks in a metal plate. Where the etching technique uses a needle to make lines that retain ink, aquatint relies on powdered rosin which is acid resistant in the ground to create a tonal effect. The rosin is applied in a light dusting by a fan booth, the rosin is then cooked until set on the plate. At this time the rosin can be burnished or scratched out to affect its tonal qualities. The tonal variation is controlled by the level of acid exposure over large areas, and thus the image is shaped by large sections at a time.

Goya used aquatint for most of his prints.

Drypoint

A variant of engraving, done with a sharp point, rather than a v-shaped burin. While engraved lines are very smooth and hard-edged, drypoint scratching leaves a rough burr at the edges of each line. This burr gives drypoint prints a characteristically soft, and sometimes blurry, line quality. Because the pressure of printing quickly destroys the burr, drypoint is useful only for very small editions; as few as ten or twenty impressions. To counter this, and allow for longer print runs, electro-plating (here called steelfacing) has been used since the nineteenth century to harden the surface of a plate.

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.

Lithography

Lithography is a technique invented in 1798 by Alois Senefelder and based on the chemical repulsion of oil and water. A porous surface, normally limestone, is used; the image is drawn on the limestone with a greasy medium. Acid is applied, transferring the grease to the limestone, leaving the image 'burned' into the surface. Gum arabic, a water soluble substance, is then applied, sealing the surface of the stone not covered with the drawing medium. The stone is wetted, with water staying only on the surface not covered in grease-based residue of the drawing; the stone is then 'rolled up', meaning oil ink is applied with a roller covering the entire surface; since water repels the oil in the ink, the ink adheres only to the greasy parts, perfectly inking the image. A sheet of dry paper is placed on the surface, and the image is transferred to the paper by the pressure of the printing press. Lithography is known for its ability to capture fine gradations in shading and very small detail.

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

Screenprinting (occasionally known as "silkscreen", or "serigraphy") creates prints by using a fabric stencil technique; ink is simply pushed through the stencil against the surface of the paper, most often with the aid of a squeegee. Generally, the technique uses a natural or synthetic 'mesh' fabric stretched tightly across a rectangular 'frame,' much like a stretched canvas. The fabric can be silk, nylon monofilament, multifilament polyester, or even stainless steel (). While commercial screenprinting often requires high-tech, mechanical apparatuses and calibrated materials, printmakers value it for the "Do It Yourself" approach, and the low technical requirements, high quality results. The essential tools required are a squeegee, a mesh fabric, a frame, and a stencil. Unlike many other printmaking processes, a printing press is not required, as screenprinting is essentially stencil printing.

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.

Monotype

Monotyping is a type of printmaking made by drawing or painting on a smooth, non-absorbent surface. The surface, or matrix, was historically a copper etching plate, but in contemporary work it can vary from zinc or glass to acrylic glass. The image is then transferred onto a sheet of paper by pressing the two together, usually using a printing-press. Monotypes can also be created by inking an entire surface and then, using brushes or rags, removing ink to create a subtractive image, e.g. creating lights from a field of opaque color. The inks used may be oil based or water based. With oil based inks, the paper may be dry, in which case the image has more contrast, or the paper may be damp, in which case the image has a 10 percent greater range of tones.

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.

Monoprint

Monoprinting is a form of printmaking that uses a matrix such as a woodblock, litho stone, or copper plate, but produces impressions that are unique. Multiple unique impressions printed from a single matrix are sometimes known as a variable edition. There are many techniques used in monoprinting, including collagraph, collage, hand-painted additions, and a form of tracing by which thick ink is laid down on a table, paper is placed on the ink, and the back of the paper is drawn on, transferring the ink to the paper. Monoprints can also be made by altering the type, color, and viscosity of the ink used to create different prints. Traditional printmaking techniques, such as lithography, woodcut, and intaglio, can be used to make monoprints.

Digital prints

Digital prints refers to images printed using a digital printer instead of a traditional printing press. These images can be printed to a variety of substrates including paper, cloth, or plastic canvas. Accurate color reproduction and the type of ink used (see below) are key to distinguishing high quality from low quality digital prints. Metallics (silvers, golds) are particularly difficult to reproduce accurately because they reflect light back to digital scanners. High quality digital prints typically are reproduced with very high-resolution data files with very high-precision printers. The substrate used has an effect on the final colors and cannot be ignored when selecting a color palette.

Pigment-based vs. dye-based inks

Unlike pigment, dyes dissolve when mixed into a liquid. Dyes are organic (not mineral). Although most are synthetic, derived from petroleum, they can be made from vegetable or animal sources. Dyes are well suited for textiles where the liquid dye penetrates and chemically bonds to the fiber. Because of the deep penetration, more layers of material must lose their color before the fading is apparent. Dyes, however, are not suitable for the relatively thin layers of ink laid out on the surface of a print.

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.

"Giclée" prints

The term Giclée, derived from the French and meaning "to spurt", is sometimes used in the commercial fine art print community to describe the ink-jet printing processes listed above. It was originally associated with Iris printing process. Today fine art prints produced on ink-jet machines using the CcMmYK color model are generally called "Giclée".

Foil imaging

In art, foil imaging is a printmaking technique made using the Iowa Foil Printer, developed by Virginia A. Myers from the commercial foil stamping process. This uses gold leaf and acrylic foil in the printmaking process.

Color

Printmakers apply color to their prints in many different ways. Often color in printmaking that involves etching, screenprinting, woodcut, or linocut is applied by either using separate plates, blocks or screens or by using a reductionist approach. In multiple plate color techniques, a number of plates, screens or blocks are produced, each providing a different color. Each separate plate, screen, or block will be inked up in a different color and applied in a particular sequence to produce the entire picture. On average about 3 to 4 plates are produced, but there are occasions where a printmaker may use up to seven plates. Every application of another plate of color will interact with the color already applied to the paper, and this must be kept in mind when producing the separation of colors. The lightest colors are often applied first, and then darker colors successively until the darkest.

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.

Registration

In printmaking processes requiring more than one application of ink or other medium, the problem exists as to how to line up properly areas of an image to receive ink in each application. The most obvious example of this would be a multi-color image in which each color is applied in a separate step. The lining up of the results of each step in a multistep printmaking process is called "registration." Proper registration results in the various components of an image being in their proper place. But, for artistic reasons, improper registration is not necessarily the ruination of an image.

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.

Protective printmaking equipment

Protective clothing is very important for printmakers who engage in etching and lithography (closed toed shoes and long pants). In the past, many printmakers did not live far past 35 to 40 years of age because of their exposure to various acids, solvents, particles, and vapors inherent in the printmaking process.

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.

Gallery

See also

Artist's proof

Banhua, Chinese printmaking

Carborundum printmaking

Edition

Graphic design

Line engraving

Old master print

Shin hanga

Sosaku hanga

Ukiyo-e

Viscosity printing

List of Printmakers

Printmakers by nationality

Engravers by nationality

Etchers by nationality

Printmakers by nationality

Notes

References

What is a Print?, from the Museum of Modern Art

Bamber Gascoigne: ''How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet'' (ISBN 0-500-28480-6)

Multi-Color Block Prints: Wood/Linoleum - Reduction Method Technique, by Hannah Tompkins

Further reading

Grabowski, Beth and Fick, Bill, "Printmaking: A Complete Guide to Materials & Processes." Prentice Hall, 2009. ISBN 0-205-66453-9

Anderson, Donna, ''Experience Printmaking.'' Worcester, MA: Davis Publications, 2009. ISBN 978-0-87192-982-2

Gill Saunders and Rosie Miles ''Prints Now: Directions and Definitions'' Victoria and Albert Museum (May 1, 2006) ISBN 1-85177-480-7

Griffiths, Antony, ''Prints and Printmaking'', British Museum Press, 2nd ed, 1996 ISBN 0-7141-2608-X

Hults, Linda ''The Print in the Western World: An Introductory History.'' Madison: University of Wisconsin Press, 1996. ISBN 978-0-299-13700-7

Ivins, William Jr. ''Prints and Visual Communication.'' Cambridge: Harvard University Press, 1953. ISBN 0-262-59002-6

Watrous, James ''A Century of American Printmaking.'' Madison: University of Wisconsin Press, 1984. ISBN 0-299-09680-7

External links

History of printmaking; glossaries

Museum of Modern Art, New York: What Is a Print?

Thompson, Wendy. "The Printed Image in the West: History and Techniques". In Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 – . (October 2003)

André Béguin's dictionary;enormous dictionary of terms, relating more to the printing than the creation of the image

Another glossary - for modern prints

Large list of links to museum etc. online images of prints

Judging the Authenticity of Prints by The Masters by art historian David Rudd Cycleback

Printmaking organizations

Print Council of America

International Fine Print Dealers Association

SGC International (formerly Southern Graphics Council)

Seattle Print Arts

Bellebyrd - The Print Australia blogspot by art historian Josephine Severn.

Iowa Biennial - Exhibition & Archive of Contemporary Prints

Site dedicated to the activity of printmaking and thinking creatively. Includes footage of well-known artists working at Crown Point Press in San Francisco.

Prints and Printmaking: Site devoted to Australian and Pacific printmaking practice and history

Mini Print International of Cadaques Site of the longest running international print exhibition and competition, catalogues, archive, winners, exhibitions, jury...

Mid America Print Council

* 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

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.

Biography

Mattias began drumming at the age of six; when he was thirteen, he began playing guitar. He has named Frank Zappa and Kiss as his two major musical influences, but his record collection also included gypsy jazz, Miles Davis, and Slayer among many others.

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.

Discography

Solo

Mr Libido - ''Sensually Primitive'' (1996)

''Freak Guitar'' (1999)

''Freak Guitar: The Road Less Traveled'' (2005)

With Freak Kitchen

''Appetizer'' (1994)

''Raw'' (1994)

''Swedish Hard Rock and Heavy Metal 1970-1996'' (1996)

''Spanking Hour'' (1996)

''Junk Tooth (EP)'' (1997)

''Freak Kitchen'' (1998)

''Dead Soul Men'' (2000)

''Move'' (2002)

''Lost in Bordeaux - promotional single'' (2002)

''Swedish Hard Rock & Heavy Metal - bonus CD'' (2002)

''Nobody's Laughing DVD single'' (2002)

''Organic'' (2005)

''Land of the Freaks'' (2009)

Other

''Frozen Eyes - The Metal Collection III'' (1987)

''Frozen Eyes - Frozen Eyes'' (1988)

''Fate - Scratch 'n' Sniff'' (1990)

''Road Ratt - Road Ratt'' (1992)

''Is this tough or what? - Compilation'' (1992)

''Pagan - The Weight'' (1993)

''Triple & Touch - T & T'' (1993)

''Tornado Soup - Tornado Soup'' (1994)

''Hans Lindell - En del av bilden'' (1996)

''Sven Olander - Air Blue'' (1997)

''Locomotive Breath'' (1997)

''Hans Sahlin - Hans Sahlin'' (1997) (Unreleased)

''Evergrey - The Dark Discovery'' (1998)

''Torben Schmidt'' (1998) (Unreleased)

''Janne Lucas'' (1998) (Unreleased)

''Soilwork - Steelbath Suicide'' (1998)

''Soilwork - The Chainheart Machine'' (1999) song - Machinegun Majesty

''Guitar Oddysey - A tribute to Yngwie Malmsteen'' (1999)

''Soilwork - A Predator's Portrait'' (2001) song - Needlefeast

''Warmth in the Wilderness - A tribute to Jason Becker'' (2001)

''Bumblefoot - 9.11'' (2001)

''Plug In'' (2001) (Unreleased)

''Mister Kite - All In Time'' (2002)

''Locomotive Breath - Heavy Machinery'' (2002)

''Soilwork - Natural Born Chaos'' (2002) song - No More Angels

''Johan Randen - Lead Guitar'' (2002)

''Audiovision - The Calling (2005)

''United - DVD'' (2005)

''Petrus - Come What Might'' (2005)

''Martin Motnik with Gregg Bissonette - Bass Invader'' (2005) song - YYZ

''Art Metal - Art Metal'' (2007)

''Destrage - Jade's Place (2010)

Instruction Videos:

''Freak Guitar Vol 1'' (1995) (VHS)

''Hyper Freak Exercise'' (1999) (Audio CD)

''Hyper Freak Exercise DVD'' (2001) (DVD)

''Super Virtuosity DVD'' (2004) (DVD)

References

External links

Mattias' Website

Official MySpace

Mattias' Bio at Favored Nations

''Freak Kitchen'' among Anders Nyberg' CD covers

Interview

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 Eklundh

Anthony Atala, M.D., is the W.H. Boyce Professor and Director of the Wake Forest Institute for Regenerative Medicine, and Chair of the Department of Urology at the Wake Forest University School of Medicine in North Carolina. Regenerative medicine is "a practice that aims to refurbish diseased or damaged tissue using the body's own healthy cells."

Biography

Atala was born in Peru in 1958, grew up in Boca Raton, Florida. Atala attended the University of Miami and has an undergraduate degree in Psychology. He went to medical school at the University of Louisville where he also completed his residency in urology. He was a fellow at the Harvard Medical School affiliated Children's Hospital Boston from 1990-1992 where he trained under world renowned pediatric urologic surgeons Alan Retik and Hardy Hendren. He served as the Director of the Laboratory for Tissue Engineering and Cellular Therapeutics at Children's Hospital Boston. His work there involved growing human tissues and organs to replace those damaged by disease or defects. This work became important due to shortages in the organ-donor program.

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."

References

External links

The Wake Forest Institute for Regenerative Medicine

A Tissue Engineer Sows Cells and Grows Organs, Ann Parson, ''The New York Times'', 11 July 2006

Regenerative Medicine: 2012, ''The New Yorker'', 7 May 2007

Interview with Dr. A. Atala, NDT Educational

;Peer-reviewed journals

Isolation of amniotic stem cell lines with potential for therapy

Therapeutic Advances in Urology

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