For years now, traditional printmakers have been trying to come to terms with the digital revolution and how to place digitally-generated images from the more commercial sector within the framework of fine-art printmaking.
This posting will not delve into these same overcooked debates; this entry has more to do with my observations as a teacher of BOTH traditional and digital printmaking techniques.
The images shown are of “states” of a cd cover image I created as an example for my digital imaging class, where music, imagery, fonts, and text all had to be cohesive. “Walk a mile” refers to both the saying (walk a mile in someone else’s shoes) but is also self-referential. Many of the songs included on the cd are singer-songwriter, blues, and country tunes about walking, running, or traveling. The waves in the background are formed from many “slippahs” (flip-flops for you Mainland folk), characteristic footwear of Hawaii, while the character is a caricature of me in my teaching regalia.
In both digital and traditional printmaking, there is an inherent experimenting, planning, and layering that takes place. Unlike media such as painting, individual layers can usually be removed or altered for future variations or editions. Layering is extremely useful in both traditional and digital media for isolating, editing, or deleting single elements of a print, WITHOUT affecting the rest of the image. Layering is inherent to image creation in Adobe creative software; as with traditional printmaking those layers at the top (of the layers pallet) appear over the layers below them. I liken digital layering to having images on transparencies that are piled one over the next; most layers involve just one element floating in space, allowing windows to view layers below. Layer opacity in both media may also be altered to allow a range of possibilities for viewing the layers below.
Through my experience teaching high school students a variety of art media, I have discovered that this understanding of layering in art helps students transition across the digital – traditional printmaking barriers. Students that have already learned traditional printmaking have been much more adept at learning digital media because of their former understanding of layering, and vice versa.
Enrique Chagoya‘s new book
Illegal Alien’s Guide to Political Economy
Printed by Robert Blackburn Printmaking Workshop at Anchor Graphics during the 2009 Southern Graphics Council Conference.
Above: Inside cover, page 5 (notice the skulls to note the page number), and back cover.
Pictured above: Left; Phil Sanders and Robert Mueller; Right; Tina Maidhof and Chris Dunnett.
This was an ambitious project starting an artist book and completing it over the course of a week. The collaboration between Phil and Enrique began in New York City at the Robert Blackburn Printmaking Workshop. Drawings were made, scanned, printed onto film, brought to Anchor Graphics studio in Chicago where more drawings were completed. Plates were exposed, printed, books were assembled, sewn and signed all with a non stop audience of at least 50 or more people surrounding the presses.
The last book was signed about 20 minutes before the studios closed on Saturday afternoon. This whirlwind of a project produced a very unique and beautifully drawn and printed edition. A true collaboration of artist, printer, as well as printmaking studios.
The edition size of this book is only 75 and are at a very reasonable price. To purchase or for more information and images please contact RBPMW at 646-416-6226 or email phil@efa1.org.
“It is only the first encounter that a face makes its full impression on us.” –Arthur Schopenhauer (German philosopher, 1788-1860)
Things Printmakers Like –
First Impressions
Printmakers thrive on making and giving first impressions– every first impression pulled determines the direction of the print run. In the art of printmaking, the first impression provides a point of departure from which to determine the life of the print and its potentially-changing system of matrices. Always entertaining, usually surprising and often eureka-inspiring, creating a new print’s first impression is a uniquely gratifying experience.
From social contexts to incunabula to audiophiles, first impressions fascinate the artist, collector, psychologist and historian alike. Needless to say, first impressions of the collectible kind are highly valued and sought after. Some first and rare impressions in print include:
The Quarrymen album–1958. The one acetate copy resides in Paul McCartney’s collection. (On left: Percey Phillip’s acetate lathe used to produce original album recording.)
Michelangelo: La Dotta Mano
Published in 2008 by the Italian Gruppo FMR to coincide with the 500-year anniversary of Michelangelo’s painting of the Sistine Chapel ceiling, this artfully-crafted tome can be purchased for 100,000 euros. Read more about this book here.
