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By Jamie Hendrix-Chupa, Exhibition Interpreter and Content Manager
SOU Theatre Class of '27
| | An example of one of printmaker Samantha Mendoza's monster head designs. | | |
Block printing is a printing technique that originated in China, created as a method of printing on cloth and later, paper. It has evolved into an art form that can be done using wood or linoleum as the carving material. It is now more commonly known as relief printing, which refers to the process of creating a print by carving an image into a material and applying ink to the non-recessed surface. The recessed surface is where material has been carved away, leaving an image to be printed onto paper or fabric. While wood and linoleum are the most commonly used materials for relief printing, a variety of other materials, including metal, plexiglass, foam, and even potatoes, can also be used for this technique. Some influential printmakers who have used relief printing as a medium include M.C. Escher, Max Beckmann, Elizabeth Catlett, and Carol Wax. Relief printing is also a major part of community art. Due to its wide range of material possibilities to ease of learning, it is a very accessible art form. It is used in punk and other counterculture communities to advertise music shows, protests, and fundraisers. On Tuesday, October 28th, from 5-7 PM outside the Schneider in the courtyard, guest artist Samantha Mendoza will be hosting a printmaking workshop to bring this art form right to you. This festive, hands-on workshop invites participants to design and print their own Trick-or-Treat tote bags using carved printing blocks. Choose from a playful mix of classic monster heads—divided into thirds—to combine and create your own “Frankensteined” design. Participants 12 years old and over are also encouraged to carve their own Halloween-inspired imagery for a truly one-of-a-kind creation. This event will be moved to the Printmaking Studio in the Marion Ady building if it is raining. Learn more about printmaking by attending Samantha Mendoza's artist talk (more information at the link below), and join us for some spooky printmaking afterward!
https://sma.sou.edu/exhibitions/creative-industries-discussion-samantha-mendoza/
| | Henri Matisse, Danseuse Creole, lithograph, 1954 | | |
Lithography, named after the method of printing using lithographic limestone, is a printing process that leverages the opposition of grease and water. Different from intaglio or "etching", lithography is more of a pressing process. Before printing occurs, the stone or plate is moistened, and the image is inked. The un-inked parts retain their moisture and repel the ink, allowing the ink to be transferred to the printing paper. If the lithograph uses color, separate surfaces are prepared for each color. This technique is also known as "chromolithography". At the Schneider, we have one lithograph on view that uses color. Henri Matisse's L'Escargot (The Snail) (1958) is a lithograph of a larger Matisse piece of the same name. As with other colored printing techniques, being able to print editions of other works allows the artist to see their work on a different scale and makes it more accessible to art collectors and buyers. Matisse's print work was not just recreations of his larger paintings, however, and he is known for an array of prints throughout his artistic career. L'Escargot can be found in Treehaven Gallery, as a part of the curated show "Angel of History". Come see a lithograph by Matisse at the Schneider, and read more about Henri Matisse and his printmaking at the link below.
https://www.incollect.com/articles/matisse-and-printmaking
| | An example of a giclée fine art print. | | |
Giclée refers to prints that are digitally made and intended for preserving fine art. They are produced by inkjet printers, setting them apart from prints that use manual tools such as linoleum and carving tools, copper etching plates, and lithographic limestone. The word giclée is a neologism from the French word gicleur, which refers to a specific type of fine art print created on a modified Iris printer. It is different from general commercial printing because the goal is to produce fine art. It has been widely used in the modern day because it allows artists to mass-produce prints of their pieces to sell online and to a larger market, rather than confining them to being able to sell the original editions of all their pieces. In the Entry Gallery at the Schneider, Iranian-American artist Amir Fallah has two giclée prints on display. Mystery (2024) and A Cosmic Storm (2024) are both part of the Schneider Museum's permanent collection, and they are both archival giclée prints of larger acrylic pieces. Giclée prints are differentiated from other commercial ink prints by their use of high-quality paper and archival inks, which allow them to be "archived" or preserved for a very long time; as opposed to dye ink, which is bright but fades fast. Pigment archival ink is saturated and long-lasting, making giclée the most sure way for art prints to stay at top quality as they age. Read more about the benefits of giclée printing for artists at the link below, and check out Amir Fallah's work, found in the Entry Gallery!
https://www.brooklyneditions.com/blog/what-is-a-giclee-print-and-why-theyre-worth-it
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Printmaking at SOU
Here on the SOU campus, where the Schneider Museum of Art is located, there are opportunities for students to get involved in printmaking. There are classes offered in Introductory and Intermediate printmaking, as well as Printmaking methods. However, there is also a free student club for printmaking that is open to anyone regardless of skill level. SOU Print Club is a free-to-join, student-run group aimed at making printmaking accessible to anyone who is interested in trying it. They meet on Fridays in the Marion Ady Art building. Their social media is linked here. Make sure to check it out to learn more about their upcoming meetings and events!
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