Demonstrations

All demonstrations will be taking place Friday, March 16, at 11:30am – 4:00pm. Shuttles loops will take place between the Sheraton Hotel, Tulane University, and Loyola University.

“Fusion the Complete Lithographer”
Demostrator: Otis Tamasauskas
Location: Tulane University, Room 302

“Fusion the Complete Lithographer” is a workshop and demonstration that will articulate the associations of waterless lithography to stone lithography. It attempts to answer questions about these exquisite print processes in association with today’s world of printmaking. The lithographic process will be performed with no solvents; attention will be paid to a more thorough and responsible approach towards personal health and safety procedures.

How are these techniques used and where do the two streams meet? When the two streams flow in a parallel course they make frequent contributions to each other, perhaps meeting in one eddy. Has stone lithography played out its purpose in today’s art scene; can waterless lithography elevate or replace the stone lithographic role in art making today? Can both mediums exist in some sense of mutualism?

The demonstration will be conducted in one area, both demonstrators side by side, one working on waterless lithography, the other on stone lithography, giving the audience a panoptical view. The demonstration will cover the immediate drawing processes as well as the photocopy transfers processes.  The developing of the images on the lithographic stone and waterless plate will be orchestrated simultaneously. At each step, the health and safety dialogue will be addressed, contrasting the old hazards and the newer less hazardous approaches. Opportunities will be taken to further discuss any innovative applications of these processes.


“Making Those Prints Dance”
Demonstrator: Joseph Lappie
Location: Sheraton Hotel

This demonstration will provide four different types of binding that artist’s can use to create both tactile and kinetic print work. As we continue to shape the 21st century it is important to be aware of the potential for alternative ways of viewing contemporary art. Through the act of touching we create an immediate intimacy of personal connection (both physically and mentally) that is often absent when view on on a wall or a computer screen. Through the act of interaction (which can involve all five senses) and the melding of book-work with print, this demonstration presents multiple exclusive, time-based art-forms reliant heavily on the cooperation of the handler.

Using interactive techniques, both the presenter and selected participants will create an edition of printed art pieces. In order to maximize understanding of the multiple processes, viewers will be presented with instructional pages for each technique as well as a larger-than-life binding demonstration for each process. During the demonstration, the demonstrator will provide binding methods and multiple techniques for the Jacob’s ladder, the flexagon, spinner prints, and several variations of pop-up. While all viewers will be welcome to interact and field questions regarding the multiple techniques and their modifications, a select number of SGC participants (decided through random selection process) will get to aid in the creation of interactive prints. If selected, each individual is encouraged to take the finished artwork home as a keepsake.

 

“Printing in the Fourth-Dimension”
Demonstrator: Robert Howsare
Location: Tulane University, Room 216

This demonstration will explore the potential of printing on 16mm film as a way of navigating the print from a two-dimensional object to an image capable of inhabiting both the third and fourth dimensions. Increasing the scale of the print, 16mm film also allows the printed mark to create it’s own soundtrack.  This demonstration will focus on screenprinted film and a few of the many images and sounds achievable through the use of varying ink opacities and mesh counts.  Our resulting prints will be projected and discussed as well as other techniques of printing on film.

“Printing with Lasers!”
Demonstrator: Nuno Nunez
Location: Tulane University, Woldenberg Art Center, Room 208

Learn how to create multiples of cut paper pieces utilizing laser cutter technology. Printmakers must continuously adopt or adapt to the changing currents of modern technologies, tools, and processes. Laser cutter technology is becoming more accessible and has many applications for the modern printmaker. Using either digital files or scanned imagery, one can quickly create intricate stencils. These can then be used for serigraphy, relief, or collagraph hand-printed applications, or stand as pieces in and of themselves. Participants will be able to make their own hand-cut paper stencils. Then they will be shown how to convert them to digital files that can be sent to a laser cutter on campus.  Completed cutouts will be on display.

“Relief to Rubber: Transforming Relief Cuts to Rubber Stamps”
Demonstrator: Sukha Worob
Location: Sheraton Hotel

 

 

 

“Revolutionary Advancements in Printmaking”

Demonstrators:  Dwight Pogue, Mark Zunino, Skip Klepacki
Location: Loyola University

The demonstration is intended for the printmaking student and instructor, artist-printmaker and master printer seeking to enhance the breadth, quality and sustainability of their work and studio.

Taking place in two of Loyola’s studios, participants will be able to observe ongoing printing demonstrations in lithography and etching, view readymade step-by-step examples of multiple processes as well as speak to the Printmaking Revolution author, Dwight Pogue, plate and printing industry veteran, Skip Klepacki, and intaglio and lithography collaborator, Mark Zunino.

Specifically, the following techniques/materials will be covered:

  • The brand new line of bio-degradable solvents and materials for replacing asphaltum, lithotine, lacquers, and nitric and phosphoric acids used in lithography.
  • The new Velvetint process for replacing rosin or asphaltum aquatint used in intaglio (no powders, no sprays).
  • The bio-degradable, brush on, self leveling, high resolution photo coatings for lithography stones and plates as well as for copper and zinc etching.
  • The new Accu-Art digital halftone imaging system for film positives and negatives will be discussed along with examples shown.

Although there will be a brief introduction at the start of the presentation, it is designed to be a free flowing conversation between the demonstrators and observers, and plans to accommodate as many conference-goers as possible as they make the rounds of the various conference offerings.

Photo Credit: Cover of the new studio textbook for printmaking students and instructors, Printmaking Revolution, by Dwight Pogue, published by Watson-Guptill. Projected release date is April 2012.  (pre-release copies will be available for review during the SGCI conference).

“Screen Printing with Wheat/Vegetable Paste and Papermaking Pigments”
Demonstrators: Ross Jahnke and Ernest Milsted
Location: Sheraton Hotel

Printmakers in academia constantly strive to navigate the crosscurrents of safety, cost, archival permanence, and professional studio practice. These crosscurrents are often at odds. The printmaking programs at Nicholls State University and Southeastern Louisiana University have seen success in navigating these crosscurrents through the development of wheat paste/methylcellulose based screen printing ink in the late 1990’s. In more recent years they have adopted aqueous dispersant pigments as a source of transparent color. The resulting ink has intense transparent color, prints well, cleans with water alone, and is extremely low in toxicity and volitile organic compounds (VOC’s).

This demonstration will include a hands on experience in mixing and printing with the ink, as well as discussion about the pros and cons of this type of ink, and other printmaker’s efforts along similar lines.

 

“Table Top Pattern Printing”
Demonstrators: Josh and Emily Minnie
Location: Tulane University, Room 310

This demonstration consists of a scaled down version of the traditional hand printed pattern techniques employed at Flavor Paper.  Working with multiple repeating prints, all elements of the process will be discussed starting with tips on repeat pattern creation and methods for making positives including shooting them on screens to optimize success.  The printing process will be shown using a traditional long table method along with a unique registration system. Variations of this pattern printing method are commonly used in large-scale fabric and wallpaper printing workshops. What is unique about this demonstration is that it will show how this process can easily be set up in a small studio, or home.

 

Video Demonstrations

“Revival! Unchartered Paths Give New Perspectives”
Presenters: Lari Gibbons, Cat Snapp, Christopher Wallace, Laura Drapac, Linda Santana
Run Time: TBA

How can run-down letterpresses be restored and updated to work with new technologies? This video serves as a navigational guide for those who wish to renovate their equipment while incorporating new approaches to printmaking. Four students and their professor describe how they successfully brought several letterpresses back to working condition. They also show how to make a matrix on a computer-numerically-controlled (CNC) router, highlighting design features that allow printing without a chase, backer, or quoins. Revival! shows how charting familiar waters of traditional printmaking can yield fresh perspectives, cross currents of discovery, and ripples of excitement.

“Sorry, You’re Not My Type”
Presenter: Graham McDougal
Run Time: 30 minutes

A self-reproduction via description is discussed in a network model of machines and description tapes. Tapes consist of bit strings, encoding function of machines. A tape is replicated when it is read by an adequate machine. Generally, a machine rewrites a tape without doing correct replication. The variation in a reproduced tape is taken as mutation. Since this mutation is caused by a machine’s program, we call it active mutation. Which machine is translated from a given tape is dependent on what kind of a machine reads the tape. External noise is introduced in machine’s reading process to make errors. A new reaction pathway is induced by external noise via machine’s error action. We find that the induced pathways will be mimicked deterministically in an emerging core structure. This core structure will be remained stable after turning off external noise. Low external noise develops a core structure of minimal self-replicative loop. When external noise is elevated, a more complex network evolves. Machines composing a complex core network, which has been bred in high external noise, will actively rewrite tapes rather just replicate them.

 – From the abstract for the text, Active Mutation in Self –reproducing Networks of Machines and Tapes, Takashi Ikegami and Takashi Hashimoto, 1996.

“How to Make a Print with your Autistic Savant Brother”
Presenter: Leona Christie
Run time: 25 minutes

How to Make a Print with your Autistic Savant Brother demonstrates how a specific collaborative project has evolved from a process of interaction, intervention, and interpretation. The 20-minute video shows the craft of Leona Christie’s printmaking, in the context of Gavin Christie’s creative and unique process of remembering and recording. The mantle of “video demonstration” is somewhat tongue-in-cheek, as Leona frames this collaboration as a repeatable enterprise, with easily duplicated results. How to Make a Print with your Autistic Savant Brother playfully takes on the expectations of formula, ritual, and repetition, inherent in printmaking, and recognizable in people on the autism spectrum.

Gavin types and handwrites lists, on a daily basis, recording his photographic memories of dates, directions, closed stores, earlier book editions, tv guide listings from the 80’s, and defunct brands of snacks and cereals, among other compendia. The lists involve ritually organizing memories of time, space, and food, televisual, and suburban. The series of blind-printed photopolymer relief prints which I have created based on Gavin’s lists of directions and memories (entitled “Dark Woods, Light Woods,” shown in several group museum shows this year), is a meditation on the nature of repetition and variation itself.

“Optimizing Positive Transparencies for Photo Etching”
Presenter: Mark Zaffron
Run time: 40 minutes

Photomechanical intaglio processes play an ever-increasing role in contemporary printmaking.  It is the chief means by which the integration of digital imagery is possible. Further, it facilitates the production of multiple-plate, multiple-color printing.  Generally speaking, it dramatically expands the creative potential of the medium.

The most critical component of any photo printing process is the quality of the transparent film that is used to translate the imagery to the printing plate. A myriad of options exist for creating transparencies, from drawing directly on Mylar, to Linotronic Image Setters, to desktop printing devices. This demonstration will focus on using both common inkjet printers and commercial image setters to create positive transparencies that will allow one to etch the fullest range of values into an etching plate.

This demonstration is wide-ranging, among the topics covered are:

• Using Adobe Photoshop to adjust imagery for film production.
• Creating exposure and density scales.
• Obtaining optimum density settings for single and multiple color images.
• Techniques for simplifying multiple-plate registration processes.
• Converting color inkjet printers to dedicated all-black ink film printers.

 

Events

“INKubator Sessions”
Organizer: Beauvais Lyons

“Taking Home With You”
Organizer: Sang-Mi Yoo

“Test Your Strength: The High Striker Experience”
Organizers: Avery McQ. Lawrence and Emily Corazon Nelson