processes are complicated and do not usually
exist in general dialogue. The basics include lithography,
etching, intaglio, screenprinting and monoprinting. There
are varying techniques as well.
In lithography, the image is drawn on a flat surface with
a greasy crayon. Hydrophobic ink adheres to the greased
surface and is then run through the press.
Relief produces the image from a cut-away plane of wood
or plastic by digging out the negative and printing what
remains—basically like making a stamp.
Etching takes many forms. An image is incised into a hard
surface by soaking the exposed parts of the plate in an
acid bath the printmaker create grooves for ink to settle
into. The ink is applied and the excess ink washed off,
and wet paper soaks up the ink when run through a press.
Etchings are a type of intaglio pertaining to the plate
of which the image was bit into.
Screenprinting is probably the technique that introduced
you to Andy Warhol. The process sounds complicated, but
is actually the fastest. By hardening photo emulsion around
the image and washing out the soft part that was not exposed
to the light, the paint is squeegied through the screen.
It is similar to what you would do to make a stencil.
Monoprinting is not done for perfect replicas. It is a series,
but the image changes. These are not to be confused with
monotypes, which only yield one print. The image is painted
on a surface and then lifted by running it through the press.
Chine-chollé is just a pretty word for gluing paper
to paper. Don't be intimidated by the terms. Printmaking
has everything to do with the quality of paper and texture
and types of inks. There is too much information to disseminate
he smell of luscious wood fibers and thick,
sticky, black ink. What could be better than that?
Printmaking marks several touchstones in art history. It has been
appreciated for its reproductive quality and was first used in book
design. It is its own art, however. Away from pure mimicry, the
process gives artists a lot of creativity.
Paul Vincent Bernard is the main organizer of the new selective
printmaker exhibit, “Making our Mark.” Thirteen local
established printmakers contribute their many talents. The show
has a richness in varying subject and style.
The initial idea for an all-printmaker show came from Carl Pace.
Usually, printmaking takes a back seat role in other gallery exhibits
filled with the more traditional art, like painting and sculpture.
The show is taking place at the Forum Gallery. It runs from Oct.
17 through Nov. 7. The gallery is open Wednesday through Sunday
from noon to 5 p.m.
The city's art community is definitely now big enough to sustain
printmaking in its printmakers-only club.
Most of the displayed artists established their work as fine art,
though unfortunately, there were a few pieces that teetered on high
design and less like expressive art. Printmaking has had to prove
itself as an art form that stands alone. A majority of printmakers
end up working to reproduce the works of other artists instead of
creating their own work.
Always interested in printmaking, Bernard finally acquired his own
press at his Gutherie studio.
“You can live for thousands of years and still not explore
all of the marks you could make," Bernard said. Printmaking
historically keeps evolving.
He interprets his work often in sexual terms and produces artwork
that can be read on a multitude of levels. His other passions include
critical discourse and he still takes classes and reads about critical
The show has already been very successful, and Bernard hopes to
be able to do it again.
Veera Kasicharernvat also has his studio at Gutherie’s. He
got his master’s degree in fine arts at the U in painting
and printmaking. His pieces are intended to be studies in the psychological
and emotional stature of other people.
Art Forum’s exhibit became Bob Kleinschmidt’s show.
He was the printmaking professor at the U for 30 years and just
about all the displayed artists are affiliated with him. Many are
his former pupils.
“Justin has done a really good job,” Kleinschmidt said,
complimenting the U’s new printmaking collaborator, Justin
When asked what print process he prefers, he just slowly shook his
head. “That old question is always there,” he said.
For Kleinschmidt, his favorite process is whatever he is working
in at the time. He genuinely loves all of printmaking—the
history, construction and materials. “It's a kick,”
The exhibition is worth seeing. Forum Gallery throws a great show
and printmakers are possibly just plain cooler than painters.