Wax Off Post: Altered Prints • Process: 1. Gather the extra prints* that you created that may not have qualified as " good prints” and think about them as new objects, new material, new media. Alter two or more of your prints with drawing and or painting materials using materials you gathered such as pencils, crayons or paint with acrylic, gouache, watercolors, and India ink. 2. Experiment with collage. Look at the negative space and details of your prints—and investigate how to enhance or obscure sections of your work. Experiment with various color combinations, complimentary, analogous, etc. 3. View video: https://youtu.be/YlhWE0rONb0 * If you don’t have prints from this semester, look for prints that are not great from previous semesters. If you have no prints, use drawings, magazines, or print digitally the prints you have documented. • Goal: Post before and After Print and Reflection • Post at least one before and after picture of your work! If you are excited about them, post more! • Reflection: By taking the time to select works that did not qualify as best work and creating a new perspective—you are learning how to work in a nonlinear process; you are required to view your proofs not as a precious finished piece but as a work-in-progress; and finaly, you are experiencing the transient, non- permanent state of the creative process. Write a few sentences about how would you take back the experience of altering plates to the print studio and to your practice. Reflect on how you would approach your plate once you are back to the studio. Would you make alterations to your plate based on the altered prints? Would you make a new plate? Or would you make more proofs to develop additional altered prints? That is the Wax On | Wax Off method. You are working on a small objective for a lifetime experience!
Karate Kid is a 1984 American film; the plot follows a a teenager taught Gōjū-ryū karate by Mr. Miyagi (Morita) to help defend himself and compete in a tournament against his bullies, one of which is the ex-boyfriend of his love interest Ali Mills (Shue). Daniel's training starts with days of menial chores that he believes only serve to make him Miyagi's slave. When he becomes frustrated, Miyagi demonstrates that repetition of these chores have helped him to learn defensive blocks through muscle memory. Their bond develops, and Miyagi opens up to Daniel about his life that includes the dual loss of his wife and son in childbirth at a internment camp while he was serving during WWII. Through Mr. Miyagi's teaching, Daniel learns not only karate, but also important life lessons such as the importance of personal balance, reflected in the principle that martial arts training is as much about training the spirit as the body. Daniel applies the life lessons that Miyagi has taught him to strengthen his relationships and perspective of important things in life.
were the first commercially successful photographic process (1839-1860.) Daguerreotype of iLouis Daguerre n 1844 by Jean-Baptiste Sabatier-Blot From Photos To Prints: Historical Background Connections: Photos, Prints and Materials Daguerreotype is a unique image on a silvered copper plate. The first hand-coloured daguerreotypes are attributed to Swiss painter and printmaker Johann Baptist Isenring a mixture of gum arabic and pigments was used to colour daguerreotypes. Top: The earliest known photograph made in a camera was taken by Joseph Nicephore Niepce in 1896/1897. Bottom: This is a retouched version and depicts the view from an upstairs window at Le Gras, in the Burgundy region of France.
artists would hand-colour monochrome photographs. In these samples (left and below) Swiss painter and printmaker Johann Baptist Isenring used a mixture of gum arabic and pigments to colour daguerreotypes and the aquatints. Hand-coloured daguerreotype by J. Garnier, c. 1850 Johann Baptist Isenring (1812–1878) Daguerreotypie 1843 Johann Baptist Isenring Lütisburg 1796–1860 St. Gallen Aquatint 1831
nineteenth century, almost all maps were printed in black ink, with no color. Starting in the 16th century, publishers would offer atlases made-to-order and sans color, providing affluent or important clientele with options to upgrade their copies. Nobles, clergyman, and royalty could choose from a variety of bindings, color options, and other details to customize their purchase. Choices in color ranged from simple outline color, which means that only the borderlines were highlighted, to elaborate full color examples that only the wealthiest could afford, complete with lavish additions such as gilt highlights or a layer of gum arabic, which amplified the luminosity of the painted area.
The steel-engraved and hand-colored map reflects the Spanish misconception that California is an island. It’s also embellished with border decorations that purport to illuminate the cultures located within it.
in the 17th Century and flourished in the 18th to mid 19th Century. The main application of color to black & white prints was with delicate watercolor brushes. Hand coloring was extremely costly, often tripling or quadrupling the price of the work, so that many early botanicals were offered with or without hand-coloring. https://www.bl.uk/collection-items/hortus-eystettensis# Sunflower, Hortus Eystettensis
between 1842 and 1849, was produced in two versions - the Royal Subscription ("RSE") Edition, which was hand colored at the time of issue, and the Standard ("SE") Edition, which was not originally hand colored. Both were produced from the same lithographic stones, but on different types of paper. The RSE's were printed on a thin "India" paper, and were then hand colored under the supervision of the publisher and Louis Haghe, the lithographer. This was typically performed by several hired colorists working on a production line basis, with each person painting a particular color or colors. The RSE prints were then trimmed to the image and glued along their edges onto a card. These images were issued to the original subscribers who had advanced money to cover the initial costs of publication. The SE edition was intended to be somewhat more affordable. It was printed on heavier matte paper and was not originally hand colored. It was not trimmed to the image or laid on a card. Instead, the SE prints have a margin all around, with a publisher's mark and a block letter title below each image. Convent of St. Catherine's [Principal Court], SE without added hand color Convent of St. Catherine [Principal Court], RSE with original hand color
as a suspect object because the color is presumed to be a cosmetic addition made to compensate for deficiencies of design or condition. Painted Prints challenges this deeply entrenched assumption about the material and aesthetic structure of old master prints by showing that in many cases hand coloring is not a dubious supplement to a print but is instead an integral element augmenting its expressive power, beauty, and meaning. Published in conjunction with an exhibition at The Baltimore Museum of Art and St. Louis Art Museum, Painted Prints reproduces and discusses a rich variety of hand-colored prints from Northern Europe of the Renaissance and Baroque periods. Anonymous woodcuts are juxtaposed with masterworks by such famed artists as Dürer, Holbein, and Goltzius. These prints, secular as well as religious, muted as well as vibrant in tonality, make it clear that hand coloring was a widespread, enduring practice, developed to satisfy the demands of both elite and popular audiences. Painted Prints presents new research into the men and women who specialized in hand coloring and offers numerous insights into the social and economic organization of Renaissance and Baroque printmaking. It also draws on scientific analyses of the materials and techniques of hand coloring to address important questions of authenticity, chronology, and condition. With a catalogue and color illustrations of all the hand-colored prints in the exhibition, this book makes a groundbreaking contribution to the study of old master prints and their pivotal place in the visual culture of early modern Europe.
Lithograph 13.25 x 16.75 inches 1941 Even though Old Masters used augmentation of original prints to attend the demand of the market, Modern artists found a broader need to alter their original prints. Some artists use the augmentation of proofs as a method of understanding the actual state of the print to develop their plates. Others sew prints as a beginning, a surface to work on and went over them with acrylic, gouache, graphite, and ink. Altered Prints: Modern Masters
– etching, lithography, screen print or woodcut – sometimes experiment with superimposing various medium or altering their work after the printing is finished. Some may well paint or draw over the resulting image, and add more of their own interpretation and invention—creating multiple versions of the same initial image. Some works fit neither the definition of a print or a painting, but are effectively both—without a doubt they are in the border territory. Those are not monoprints, they’re paintings on paper. When talking about this series of altered prints, artist Jim Dine states that he doesn’t care about technique for technique’s sake. ‘I get off on the sensuousness of the material.’ Altered Print: Contemporary Artists
Circle)” (1979), etching,17 13/16 x 23 3/4 inches Top Center: Richard Pousette-Dart, “Etching-I” (1979), etching with acrylic, plate: 8 x 10 inches Top Right: Richard Pousette-Dart, “Light Sublime” (1979), etching, 17 3/4 x 23 13/16 inches Bottom: Richard Pousette-Dart, “Etching-3” (1979), etching with inking, 8 x 10 inches Richard Pouse.e-Dart made many etchings, but he seldom bothered to edi9on them. One reason for this sustained outburst of crea9vity was that the master printmaker, Sylvia Roth, had a printmaking studio near the ar9st’s home and studio in Suffern, New York. Some think the reason Pouse.e-Dart took to intaglio was because he liked the density he could a.ain by repeatedly incising and revising a plate through various processes. Once the print was pulled, it offered further opportunity to go over it with another, more liquid medium. “Light Sublime” is one of the masterpieces of this period, a sheet of paper covered with scratches and grooves that are denser in one area than another. When we think of all-over pain9ng, par9cularly done by Pollock, we think of tumultuous gestures looping across the surface; they literally expand out toward the pain9ng’s physical edges. Instead of carrying us out, Pouse.e- Dart pulls us in. His field of 9ny flecks evokes the infinite — what we live in but literally cannot see, much less comprehend.
paper stained with acrylic paint on Chiri/Gasen natural paper 11.5 x 9.5 inches 1994 Lesley Dill Her Eyes Two-color lithograph with chine collé, wax and thread on Kitakata 13 x 17 1/2 inches 2013
2014 Kiki Smith works at the scale of the tapestry, crea9ng large collages on paper from cutout drawings, photolithographs, and various textural elements. The collages are sent to Magnolia Edi9ons, photographed, printed at scale and sent back to Smith for more handwork and collaging; this cycle con9nues (oWen for months) un9l the design is ready to be translated into a digital weave file and sent to an electronic, double- headed Jacquard loom for proofing as a tex9le. "It's the way that I work," she told me from her studio in New York last summer, "making sculptures, too, I do the exact same thing: I make drawings, and from the drawings I make rubber stamps; from the rubber stamps I make impressions in clay, then waxes, and then sculptures. It's a transforma9on, moving from one way of genera9ng an image to another, which makes a hybrid." Smith's choice to compose her tapestries at scale rather than enlarging smaller images is crucial to their impact. To work large is "to emphasize the holiness of it," she explains: "historically, these things were made to blanket walls… They're blanke9ng space. In mosques you have the kilims that are hundreds of years old si_ng on top of each other for prayer, and there's that rela9onship between cloth and life and protec9on." …
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