Printmaking Commons^™

Laboratory: Where Science Becomes Art, Amy Norton, Madeline Carpenter, Colton Weeks, Jae Lim

P-12 Lesson Plans

This is group of lessons for K-12 art classroom is connected to the artists in the ZMA exhibition Laboratory, on view November 14, 2014 - February 21, 2015. The exhibition worked to demystify artistic practice by revealing parallels between art and scientific research and methodology. These associated lessons include scientific concepts and principles paired with art.

Tethered, Samantha Jean Dixon

Graduate Theses and Dissertations

Tethered addresses the innate fear of forgetting where an individual's family originates, both physically and historically. Not long after discovering that part of my family was almost completely annihilated during the Holocaust, I produced Tethered as visual documentation of the long-term effects of families of survivors. The exhibition is also influenced by my grandmother's experiences as a Mauthausen concentration camp survivor and my own experiences being raised by a survivor.

The knowledge of the imminent loss of memory initiates an instinct to repetitively record and remember personal history. Numerous memories have been forcefully buried in the darkest recesses of the …

Essence, Christina M. Lutz

Electronic Theses and Dissertations

No abstract provided.

Jerry Bywaters: Lone Star Printmaker, Ellen Buie Niewyk

eBooks

Jerry Bywaters – Lone Star Printmaker chronicles the printmaking career of Texas regionalist artist Jerry Bywaters (1906 – 1989). In 1935, Bywaters began recording the prints he made, primarily lithographs, when he noted ‘“Gargantua” First litho made (1935)’ on the first page of his print notebook. This study is based on that notebook and places Bywaters’s printmaking career within the context of art developments in Dallas through the 1940s. It includes a catalogue of his prints, information regarding the history of each print, and reproductions of his known illustrations and ephemera.

Bywaters played a major role in establishing the Texas …

Where Is Jack?, Keiko Tanifuji

Inscape

No abstract provided.

Art: Kristin Ellsworth, Kristin Ellsworth

Inscape

No abstract provided.

Untitled: Chris Lynn, Chris Lynn

Inscape

No abstract provided.

Untitled: Andi Pitcher, Andi Pitcher

Inscape

No abstract provided.

Art: Ai Childress, Ai Childress

Inscape

No abstract provided.

Commonthought Vol.6 (1995), Commonthought Staff

Commonthought

This issue features works created by Lesley University students and covers a broad range of topics. The work itself crosses many disciplines from creative writing to visual arts.

J.J. Lankes (1884-1960): Woodcuts Of Rural America, University Of Richmond Museums

Exhibition Brochures

J.J. Lankes (1884-1960): Woodcuts of Rural America

1994

Marsh Art Gallery, University of Richmond Museums

Introduction

In 1917, while working at the Newton Arms Company factory in Buffalo, New York, Julius John (J. J.) Lankes created his first woodcut. His only implements were a graver, used to score rifle stocks, and a block of apple wood he had cut from a fallen tree. The experiment proved a turning point in the life of the thirty-one-year-old laborer, draftsman, and erstwhile art student. Rapidly mastering the difficult white on black woodcutting technique, he went on to produce some 1,300 designs over the …

Womanthought (1990), Womanthought Staff

Commonthought

This issue features works created by Lesley University students and covers a broad range of topics. The work itself crosses many disciplines from creative writing to visual arts.

The Prophetic Book = Ksiega Proroctw, Craig Raine, Special Collections, Fleet Library

Printmaking

1 volume, 46 unnumbered pages. Title page illustrated and printed on a double page spread. " ... translated into Polish by Jerzy Jarniewicz. 11 black and white linocuts by Krzysztof Wawrzyniak ... Limited edition of 100 copies numbered 1-100 ... All copies signed by the poet, the translator and the graphic-artist."--Colophon. Text in Polish and English. Cover has letterpress design/illustration on cover. Housed in five-part folded case. Printed text on lining paper mounted inside the case covers.

Many Strange Visual Effects Can Be Obtained By Overlapping Several Objects Containing Both Raised And Incised Shapes And Varying The Textures Of These Forms, Ruth F. Bravetti

All Master's Theses

This study deals with the printmaking technique of embossing to create visual effects with "non-associative" forms. The prints presented deal with the realm of space and an atmosphere unrelated to our present environment or concepts of gravity. Several visual conflicts were achieved by overlapping objects, creating textured surfaces, and varying thickness, size, location, and shape of forms. Serigraphy, spray paint, flocking, and reflective beads were introduced in some of the prints presented in order to enhance the effect of embossing.

For the viewer to become involved with transparent "non-associative" objects was the main objective. The technique was limited to embossing …

I Made Some Prints, Teresa O. Tempero

All Master's Theses

In discussing the prints and drawings chosen for this study, I wish to consider mostly subject matter and composition, giving less mention to technique. The three forms of printmaking used are intaglio, collagraph, and woodcut. A specific theme was not chosen for these prints. Since printmaking has been such a relatively new experience of expression for me, I chose to concentrate this study on the printmaking process.

Images And Content, Robert C. Ellis Jr.

All Master's Theses

My primary purpose in this study was to explore the relationship of symbolism, imagery, and concept as they relate to printmaking and drawing. The techniques used in my work were collagraph printmaking, drawing, "painting-drawing", and three-dimensional construction. These works represent my development over a period of five quarters. As a result of this study, I expect that my perception and use of imagery, concepts and technique will continue to develop.

A Series Of Prints Using Selective Print Techniques And Graphic Communications, Theodore Parks

All Master's Theses

The primary purpose of the study was to produce a series of original prints, using several selected techniques, and in certain instances combining with these an imagery to achieve the communication of predetermined concepts.

Collograph Platemaking Techniques, Clifton A. Barrette

All Master's Theses

It was the purpose of this study to investigate the techniques in the construction and production of a series of original collagraph plates and prints. These were used to portray in visual, graphic form the diverse range of collagraph printmaking techniques.

Investigations In Mixed-Media Printmaking, Jarold H. Powell

All Master's Theses

The device man uses to transport himself is one of his dearest possessions and one of his biggest problems. The relationship between man and his machine is the basis for the content of this thesis. Since walking became impractical, men have grown dependent physically, emotionally, psychologically, economically, and socially on a personal means of transportation. My own ideas and experiences are the source for the content of this series of works.

A Series Of Intaglio And Mixed-Media Prints Portraying The Negative Consequences Resulting From Man's Inhumanitarian Actions, Susan Clare Miller

All Master's Theses

It is the purpose of this study (1) to portray in visual, graphic form the negative consequences resulting from inhumanitarian acts man inflicts upon himself and others; (2) to delineate these actions in a revealing, subtle manner that is still representative of the facts of reality; (3) to experiment with a diverse range of intaglio printmaking techniques and compositional arrangements which best produce the visual, emotional effects desired.

Photographic Color Printing, James W. O'Neill

Graduate Student Research Papers

It was the purpose of this study to (1) determine the process that is necessary for dye formation in a colored negative; (2) to investigate the process of .making a color print; (3) to evaluate a color print in regard to density and color balance; and (4) to enable one to correct the color balance of a colored print.