Inspiration for my printmaking

I find Yamamoto’s large abstract monochrome monoprint landscapes extremely evocative. Inspired by a Zen minimalist aesthetic, with a focus on tone and markmaking, they have a dreamy and ethereal feel – full of suggestion of light and dark, huge towering buildings or seething underlying masses in the deep. Yet cannot be completely grasped or understood.

Yamamoto Printmaking Official website

Monoprints

Google images of Yamamoto monoprints

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Sources of inspiration in water surfaces

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Metal engraving

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Copperplate etching Kite design

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Using drawings and tusche on mylar as the plate

Preparing photographs

All digital images or photographs need to be converted to greyscale and printed in black ink only onto transparent film using an inkjet or laser printer. If an image contains greys it is better to darken them as they are likely to overexpose and not show up in the print.

• Image sizes:Image resolution: 300ppi.
• Plate sizes: A3 37x45cms allow 6cms border so height 39cms and constrain proportions. A4: 38×25.3cms

Use CMYK? 8bit. Convert to bitmap. Output 700dpi. Method Halftone screen OK. Frequency 47 lines/inch, angle 30 degrees, Shape round.

Moma Exhibiton

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Max Pechstein

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The earliest print technique, woodcut first appeared in China in the ninth century. Arriving in Europe around 1400, it was originally used for stamping designs onto fabrics, textiles, or playing cards. By the 16th century it had achieved the status of an important art form in the work of Albrecht Dürer and other Northern European artists.

During the first decade of the twentieth century German Expressionists sought to recover a German tradition and to register a thread of continuity with their late Gothic and Renaissance artistic heritage – taking inspiration from late Gothic artists like Durer, Baldung, Cranach, Altdorfer and Grunewald. It was in part a reaction against Impressionism’s emphasis on atmospherics and surface appearances, and against the rigidity of academic painting, stressing instead the emotional state of the artist, subject and also viewer. In addition to the Germanic tradition they were also inspired by Van Gogh, Munch, Gauguin, Cezanne and African and Oceanic art.

The use of the term Expressionism seems to date from around 1911, although the De Brucke movement had been established in 1905 and was holding exhibitions till 1913. Another movement: der Blaue Reiter was formed in 1911 as a loose collection of artists interested in abstraction. Other groups included the Berlin and Munich Secessions, the Red Group, the November Group and the New Artist’s Association. Among the publications were Der Sturm and Die Aktion. Many of these groups and publications had socialist of communist ideals.

They adopted woodcut as a primary artistic vehicle. Their starkly simplified woodcuts capitalized on the medium’s potential for bold, flat patterns and rough hewn effects. At the same time the flexibility of woodcut as a medium encouraged individual approaches and novel techniques from the Brücke’s vigorous cutting to the Blaue Reiter’s abstracted forms. They exploited the medium’s capacity to convey and disseminate innovative ideas, depicting wide ranging themes in a diversity of formats,  catering to different audiences.

A change occurred with World War I. The horror of the war and the chaotic years of the Weimar Republic (1919-33) led to introduction of a sharply satirical tone in the work of many of the artists. Many of the artists went on to join new movements like Dada and Neue Sachlichkeit and continued to work until well after World War II.

Sources:

Shane Weller ‘German Expressionist Woodcuts’ Dover Publications New York, 1994

MOMA Expressionist exhibition website

See also Wikipedia article on Expressionism

View over a Flat Landscape: Jan Josefsz van Goyen (oil on panel 1642) a moody painting of a completely flat landscape with cows, where the top two thirds of the frame is occupied by the grey clouds, but with subtle sunlight breaking through on the horizon line in the far distance.
Landscape with a River Bank : Jan Josefsz van Goyen (oil on panel 1635-1640) a very muted colour painting of the far back of the river with a church – very much like the view over the Cam to Fen Ditton
Flat Landscape with a Broad River: Philips Koninck (oil on canvas c 1648) again very muted colours, dominated by the sky. The sky is now looming overhead with nearer clouds larger and again subtle lighting on the horizon and the river.
Polder Landscape: Paul Joseph Constantin Gabriël (watercolour 1828-1903) simple monochrome image of two barges. Here the focus is on the water and some birds in the foreground. The horizon to a featureless sky is in the middle of the frame.
Landscape: Adriaen van Ostade (oil on panel 1639) a summer image with a very dramatic stormy sky with bright patches of light on the ground from breaks in the cloud. The horizon line is again low just above the bottom third of the frame.
Snowy Landscape with fences in the foreground: Charles Donker etching 1988 a misty simple monochrome print with large featureless sky, a row of skeletal trees of different types silhouetted against it and fences lines through the snow.

Van Ruysdale



Van Goyen

Cyanotype is a photographic printing process that produces a cyan-blue print. The process was discovered in 1842 by English scientist and astronomer. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints.

Cyanotype Google images

Process

Prints can be made from large format negatives and lithography film, Digital negative (transparency) or everyday objects can be used to make photograms.

The process uses two chemicals:ferric ammonium citrate andpotassium ferricyanide.

In a typical procedure, equal volumes of an 8.1% solution of potassium ferricyanide and a 20% solution of ferric ammonium citrate are mixed. The overall contrast of the sensitizer solution can be increased with the addition of approximately 6 drops of 1% solution potassium dichromate for every 2ml of sensitiser solution.

This mildly photosensitive solution is then applied to a receptive surface (such as paper or cloth) and allowed to dry in a dark place. Cyanotypes can be printed on any surface capable of soaking up the iron solution. Although watercolour paper is a preferred medium, cotton, wool and even gelatin sizing on nonporous surfaces have been used. Care should be taken to avoid alkaline-buffered papers, which degrade the image over time.

A positive image can be produced by exposing it to a source of ultraviolet light (such as sunlight) as contact print through the negative (traditionally, semitransparent paper) or objects. The combination of UV light and the citrate reduces the iron(III) to iron(II). This is followed by a complex reaction of the iron(II) complex with ferricyanide. The result is an insoluble, blue dye (ferric ferrocyanide) known as Prussian blue. The extent of colour change depends on the amount of UV light, but acceptable results are usually obtained after 10–20 minute exposures on a dark, gloomy day.

After exposure, developing of the picture involves the yellow unreacted iron solution being rinsed off with running water. Although the blue colour darkens upon drying, the effect can be accelerated by soaking the print in a 6% (v/v) solution of 3% (household).The water-soluble iron(III) salts are washed away, while the non-water-soluble Prussian blue remains in the paper. The highlight values should appear overexposed, as the water wash reduces the final print values.

Toning

In a cyanotype, a blue is usually the desired color; however, there are a variety of effects that can be achieved. These fall into three categories: reducing, intensifying, and toning:

• Reducing is the process of reducing or decreasing the intensity of the blue. Sodium carbonate, ammonia, Clorox, TSP, borax, Dektol and other chemicals can be used to do this. A good easily obtained reducer is bleach. How much and how long to bleach depends on the image content, emulsion thickness and what kind of toning is being used. When using a reducer it is important to pull the cyanotype out of the weak solution and put the cyanotype into a water bath to arrest the bleaching process.
• Intensifying is the strengthening of the blue effect. These chemicals can also be used to expedite the oxidation process the cyanotype undergoes. These chemicals are hydrogen peroxide, citric acid, lemon juice, and vinegar.
• Toning is the process used to change the colour of the iron in the print cyanotype. The colour change varies with the reagent used. There are a variety of elements that can be used, including tannic acid, oolong tea, wine, cat urine, and pyrogallic acid

Long-term preservation

In contrast to most historical and present-day processes, cyanotype prints do not react well to basic environments. As a result, it is not advised to store or present the print in chemically buffered museum board, as this makes the image fade.

Another unusual characteristic of the cyanotype is its regenerative behavior: prints that have faded due to prolonged exposure to light can often be significantly restored to their original tone by simply temporarily storing them in a dark environment.

Cyanotypes on cloth are permanent but must be washed by hand with non-phosphate soapso as to not turn the cyan to yellow.

Artists

Artists using the process include:

• Anna Atkins who created a series of cyanotype limited-edition books that documented ferns and other plant life from her extensive seaweed collection, placing specimens directly onto coated paper and allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is sometimes considered the first female photographer.

Contemporary artists who employ the cyanotype process in their art include:

• Christian Marclay
• Marco Breuer
• Kate Cordsen 
• John Dugdale.

Cyanotype postcard, Racine, Wis., c. 1910

Tutorials

!! To be fully written up with my photos of the process and inspiration, and more of the challenges, linked to Printmaking blog.

Bibliography

Adam, R. & Robertson, C., (2003) Screenprinting: the complete water-based system, London: Thames & Hudson.

Barker, D., Traditional Techniques in Contemporary Chinese Printmaking, London: A & C Black.

D’arcy Hughes, A. & Vernon-Morris, H., (2008) The Printmaking Bible: the complete guide to materials and techniques, San Francisco: Chronicle Books.

Grabowski, B. & Flick, B., (2009) Printmaking: A Complete Guide to Materials and processes, London: Lawrence King Publishing.

Griffiths, A., (1980) Prints and Printmaking: An introduction to the history and techniques, London: British Museum Press.

Martin, J., (1993) The Encyclopedia of Printmaking Techniques,London: Quarto Publishing.

Pogue, D., (2012) Printmaking Revolution : new advancements in technology, safety and sustainability, New York: watson-guptill publications.

Stobart, J., (2001) Printmaking for Beginners, London: A&C Black.

Stromquist, A., (2004) Simple Screenprinting: basic techniques and creative projects, New York: Lark Books.

Williamson, C., (2011) Reinventing Screenprinting, London: A&C Black.

Woods, L., (2011) The Printmaking Handbook: Simple techniques and step-be-step projects, London: Search Press.

!! Post in process

For my own etchings and etching techniques see Etching Techniques

Origin and printmakers

Etching was used by goldsmiths and other metal-workers in order to decorate metal items such as guns, armour, cups and plates. The technique has been known in Europe since the Middle Ages at least, and may go back to antiquity.

The process as applied to printmaking is believed to have been invented by Daniel Hopfer (circa 1470–1536) of Augsburg, Germany. (See Google images)

In Renaissance Italy with a switch to copper plates, etching soon came to challenge engraving as the most popular medium for artists in printmaking.

Jacques Callot (1592–1635) from Nancy in Lorraine (now part of France)  made significant technical advances, attributed with developing:

• the échoppe, a type of etching-needle with a slanting oval section at the end. This enabled etchers to create a swelling line, as engravers were able to do.
• an improved, harder, recipe for the etching ground, using lute-makers’ varnish rather than a wax-based formula. This enabled lines to be more deeply bitten, prolonging the life of the plate in printing, and also greatly reducing the risk of “foul-biting”, where acid gets through the ground to the plate where it is not intended to, producing spots or blotches on the image. This meant etchers could do highly detailed work that was previously the monopoly of engravers.
• more extensive and sophisticated use of multiple “stoppings-out”letting the acid bite lightly over the whole plate, then stopping-out those parts of the work which the artist wishes to keep light in tone by covering them with ground before bathing the plate in acid again. He achieved unprecedented subtlety in effects of distance and light and shade by careful control of this process.

Most of his prints were relatively small—up to about six inches or 15 cm on their longest dimension, but packed with detail.(See Google images).

One of his followers, the Parisian Abraham Bosse, spread Callot’s innovations all over Europe with the first published manual of etching, which was translated into Italian, Dutch, German and English.

17th and 18th century was the great age of etching:

• Rembrandt,
• Giovanni Benedetto Castiglione
• Piranesi
• Tiepolo
• Daniel Chodowiecki

Etching has often been combined with other intaglio techniques such as engraving (e.g., Rembrandt) or aquatint (e.g., Francisco Goya).

19th and early 20th century

• David Hockney
• Lucien Freud
• Maggi Hambling

Bibliography

Adler, K., (2006) Mary Cassatt: Prints, London: National Gallery.

Bikker, J., Webber, G. J. M., Wiesman, M. W. & Hinterding, E., (2014) Rembrandt: the late works, London: National Gallery.

Bikker, J. & Weber, G. J. M., (2015) Rembrandt: The Late Works, London: National Gallery.

Cate, P. D. & Grivel, M., (1992) From Pissaro to Picasso: color etching in France, Paris: Flammarion.

Cohen, J. (ed.) (1995) Picasso: Inside the Image, London: Thames & Hudson.

Coppel, S., (1998) Picasso and Printmaking in Paris, London: South BGank Publishing.

D’arcy Hughes, A. & Vernon-Morris, H., (2008) The Printmaking Bible: the complete guide to materials and techniques, San Francisco: Chronicle Books.

Freud, L., (2008) On Paper, London: Jonathan Cape.

Grabowski, B. & Flick, B., (2009) Printmaking: A Complete Guide to Materials and processes, London: Lawrence King Publishing.

Griffiths, A., (1980) Prints and Printmaking: An introduction to the history and techniques, London: British Museum Press.

Guse, E.-G. & Morat, F. A., (2008) Georio Morandi: paintings, watercolours, drawings, etchings, Munich, Berlin, London, New York: Prestel.

Hambling, M., (2009) The Sea, Salford Quays: The Lowry Press.

Lloyd, R., (2014) Hockney Printmaker, London: Acala Arts & Heritage Publishers Ltd.

Martin, J., (1993) The Encyclopedia of Printmaking Techniques, London: Quarto Publishing.

Meyrick, R., (2013) Sydney Lee Prints: A Catalogue Raisonnee, London: Royal Academy of the Arts.

Pogue, D., (2012) Printmaking Revolution : new advancements in technology, safety and sustainability, New York: watson-guptill publications.

Royalton-Kisch, M., (2006) Rembrandt as Printmaker, London: Hayward Gallery Touring.

Salamon, F., (1972) The History of Prints and Printmaking from Durer to Picasso: A guide to collecting, New York, Sat Louis, San Francisco: American Heritage Press.

Stobart, J., (2001) Printmaking for Beginners, London: A&C Black.

Woods, L., (2011) The Printmaking Handbook: Simple techniques and step-be-step projects, London: Search Press.

Wye, D., (2017) Louise Bourgeois: An Unfolding Portrait, New York: MoMA.

Zigrosser, C., (1951) Prints and Drawings of Kathhe Kollwitz, New York: Dover Publications.

Exhibitions and Galleries

Museum Boijmans van Beuningen, Rotterdam

Rembrandt Etchings permanent collection

British Museum

Picasso post-war prints: lithographs and aquatints (27 January – 3 March 2017)

!!Post in Process

See Drypoint technique

for a discussion of my own drypoint prints and techniques.

Some printmakers who have used drypoint

Drypoint Pinterest Board

Drypoint technique appears to have been invented by the Housebook Master, a south German 15th-century artist, all of whose prints are in drypoint only. See google images of his prints.

• Albrecht Dürer produced 3 drypoints before abandoning the technique (Google images)
• Rembrandt used drypoint frequently, but usually in conjunction with etching and engraving. (Google images)
• Alex Katz used drypoint with aquatint  to create several of his famous works, such as “Sunny” and “The Swimmer”.
• Mary Cassatt used drypoint and aquatint with various colours.
• Pablo Picasso, 1909, Two Nude Figures (Deux figures nues), steel-faced drypoint on Arches laid paper, 13 x 11 cm
• David Brown Milne is credited as the first to produce coloured drypoints by the use of multiple plates, one for each colour. (See Google images)
• Louise Bourgeois produced powerful autobiographical images in drypoint.

Contemporary printmakers whose drypoints I very much admire include:

• Iona Howard with monoprint and carborundum
• Ross Loveday with monoprint and carborundum
• Michael Kihlman‘s photorealistic work (See Google images)

Bibliography

Adler, K., (2006) Mary Cassatt: Prints, London: National Gallery.

Bikker, J., Webber, G. J. M., Wiesman, M. W. & Hinterding, E., (2014) Rembrandt: the late works, London: National Gallery.

Cohen, J. (ed.) (1995) Picasso: Inside the Image, London: Thames & Hudson.

Coppel, S., (1998) Picasso and Printmaking in Paris, London: South BGank Publishing.

Griffiths, A., (1980) Prints and Printmaking: An introduction to the history and techniques, London: British Museum Press.

Malbert, R., (2016) Louise Bourgeois: Autobiographical prints, London: Hayward Publishing.

Marquis, A., (2018) Marcellin Desboutin, Cambridge: Fitzwilliam Museum.

Martin, J., (1993) The Encyclopedia of Printmaking Techniques, London: Quarto Publishing.

Muller-Westermann, I. (ed.) (2015) Louise Bourgeois: I Have Been to Hell and Back, Ostfildern, Germany: Hatje Cantz Verlag.

Salamon, F., (1972) The History of Prints and Printmaking from Durer to Picasso: A guide to collecting, New York, Sat Louis, San Francisco: American Heritage Press.

Stobart, J., (2001) Printmaking for Beginners, London: A&C Black.

Wye, D., (2017) Louise Bourgeois: An Unfolding Portrait, New York: MoMA.