Wood Block Printing.

Woodblock printing is a technique for printing text, images or patterns used widely throughout East Asia  and originating in China in antiquity as a method of  printing on textiles and later paper. As a method of printing on cloth, the earliest surviving examples from China date to before 220, and woodblock printing remained the most common East Asian method of printings books and other texts, as well as images, until the 19th century. Ukiyo-e is the best known type of Japanese woodblock art print. Most European uses of the technique for printing images on paper are covered by the art term woodcut, except for the block-books  produced mainly in the 15th centuryThe wood block is carefully prepared as a relief matrix, which means the areas to show 'white' are cut away with a knife, chisel, or sandpaper leaving the characters or image to show in 'black' at the original surface level. 

The block was cut along the grain of the wood. It is only necessary to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. The content would of course print "in reverse" or mirror-image, a further complication when text was involved. The art of carving the woodcut is technically known as xylography,though the term is rarely used in English.

For colour printing, multiple blocks are used, each for one colour, although overprinting two colours may produce further colours on the print. Multiple colours can be printed by keying the paper to a frame around the woodblocks.

There are three methods of printing to consider:

Stamping

Used for many fabrics, and most early European woodcuts (1400–40). These items were printed by putting paper or fabric on a table or a flat surface with the block on top, and pressing, or hammering, the back of the block.

Rubbing

Apparently the most common for Far Eastern printing. Used for European woodcuts and block-books later in the 15th century, and very widely for cloth. The block is placed face side up on a table, with the paper or fabric on top. The back of the paper or fabric is rubbed with a "hard pad, a flat piece of wood, a burnisher, or a leather frotton".

Printing in a press

"Presses" only seem to have been used in Asia in relatively recent times. Simple weighted presses may have been used in Europe, but firm evidence is lacking. Later, printing-presses were used (from about 1480). A deceased Abbess of Mechelen in Flanders in 1465 had "unum instrumentum ad imprintendum scripturas et ymagines ... cum 14 aliis lapideis printis" ("an instrument for printing texts and pictures ... with 14 stones for printing") which is probably too early to be a Gutenberg-type printing press in that location.

Screen printing...

Screen printing is a printing technique that uses a  woven mesh to support an ink-blocking stencil. The attached stencil forms open areas of mesh that transfer ink or other printable materials which can be pressed through the mesh as a sharp-edged image onto a substance. A fill blade or squeegee is moved across the screen stencil, forcing or pumping ink into the mesh openings for transfer by capillary action during the squeegee stroke. Basically, it is the process of using a stencil to apply ink onto another material.

Screen printing is also a stencil method of print making in which a design is imposed on a screen of polyester or other fine mesh, with blank areas coated with an impermeable substance. Ink is forced into the mesh openings by the fill blade o squeegee  and onto the printing surface during the squeegee stroke. It is also known as silkscreen, serigraphy, and serigraph printing. A number of screens can be used to produce a multicoloured image.

Edward Ruscha Photography Inspiration.

Born in 1937 in Omaha, Nebraska, Edward Ruscha was raised in Oklahoma City, Oklahoma, where his family moved in 1941. In 1956 he moved to Los Angeles to attend the Chouinard Art Institute, and had his first solo exhibition in 1963 at the Ferus Gallery. In 1973, Ruscha began showing his work with Leo Castelli Gallery in New York. He continues to live and work in Los Angeles, and currently shows with Gagosian Gallery.

Ruscha has consistently combined the cityscape of his adopted hometown with vernacular language to communicate a particular urban experience. Encompassing painting, drawing, photography, and artist's books, Ruscha's work holds the mirror up to the banality of urban life and gives order to the barrage of mass media-fed images and information that confronts us daily. Ruscha's early career as a graphic artist continues to strongly influence his aesthetic and thematic approach.

Ruscha has been the subject of numerous museum retrospectives that have traveled internationally, including those organized by the San Francisco Museum of Modern Art in 1982; the Centre Georges Pompidou in 1989; the Hirshhorn Museum and Sculpture Garden in 2000; the Museo Nacional Centro de Arte Reina Sofia in 2002; the Museum of Contemporary Art in Sydney in 2004; the Whitney Museum of American Art in 2004; and the Jeu de Paume in 2006. In 2005, Ruscha was the United States representative at the 51st Venice Biennale. Recent exhibitions include “Ed Ruscha: Fifty Years of Painting” (organized by the Hayward Gallery, London, in 2009), “Ed Ruscha: Road Tested” (at the Modern Art Museum of Fort Worth in 2011), and “On the Road” (organized by the Hammer Museum in 2011). “Reading Ed Ruscha” is currently on view at the Kunsthaus Bregenz until October 14.

Vija Celmins Work That Has Inspired me!!!

Vija Celmins was born on October 25, 1938, in Riga Latvia. Upon the Soviet occupation of Latvia in 1940, her parents and older sister Inta  fled to Germany , surviving the refugee-despising Nazi regime, living in a United Nations supported Latvian refugee camp in Esslingen am Necker,Baden-Wurttemberg . After World War 2, in 1948 the Church World Service  relocated the family to the United states, briefly in New York City, then on to Indianapolis, Indiana. Sponsored by a local Lutheran church,her father found work as a carpenter, and her mother in a hospital laundry.Vija was ten, and spoke no English, which caused her to focus on drawing, leading her teachers to encourage further creativity and painting.

 

Vija Celmins is an important Latvian-American, abstract-realism visual artist. Best known for photo-realistic paintings and drawings of natural environments: the ocean, spider webs, star fields and rocks. Her earlier work included pop sculptures and monochromatic representational painting. Based in New York City, she has been the subject of over forty solo exhibitions since 1965, and major retrospectives at the Museum of Modern Art, Whitney Museum of American art,Los Angeles museum of Art, institute of Contemporary Arts, London, and Centre Pompidou, Paris.

Working in California in the 1960s, Vija Celmins' early work, generally in photorealistic painting and pop-inspired sculpture, was representational. She recreated commonplace objects such as TVs, lamps, pencils, erasers, and the painted monochrome reproductions of photographs. A common underlying theme in the paintings was violence or conflict, such as war planes, handguns and riot imagery. A retrospective of the 1964-1966 work was organised by the Los Angeles County Museum of Art in 2011. She has cited Malcolm Morley and Jasper Johns as influences in this period.

Galleries And Exhibitions!!!

The National Gallery!!!

Through American Eyes: Frederic Church and the Landscape Oil Sketch

Issued: November 2012

6 February – 28 April 2013

Room 1

Admission free

Majestic scenes and striking colouration dramatise the works on display in The National Gallery’s exhibition Through American Eyes: Frederic Church and the Landscape Oil Sketch. The spring exhibition explores the remarkably fresh and spontaneous oil sketches of Frederic Church (1826–1900), considered by many to be the greatest American exponent of the landscape oil sketch.

Church’s oil sketches reveal the freshness of his work and the spontaneity of his style as he captured scenes out of doors, some of which he elaborated later in the studio. Regarded as one of the most ambitious of the Hudson River School landscape painters, his works reveal his voracious appetite for travel to locations as distant as Ecuador, 'Distant View of the Sangay Volcano, Ecuador' (1857); Jordan, 'Ed Deir, Petra' (1868); Jamaica, 'Ridges in the Blue Mountains, Jamaica' (1865); Germany, 'Königssee, Bavaria' (1868); and the waters off Labrador where he studied icebergs.

The exhibition also includes works executed closer to Church’s home on the Hudson in Upstate New York including 'Winter Twilight from Olana' (about 1871-2) and 'Hudson, New York at Sunset' (1867) which reflect his interest in the American landscape and his exploration of the effect of light.

Frederic Church Painter.

Step into a world of wild natural phenomena with the landscape oil sketches of celebrated American landscape painter, Frederic Church.

‘Through American Eyes: Frederic Church and the Landscape Oil Sketch’ displays a distinctive aspect of the work of Frederic Edwin Church (1826–1900), his landscape oil sketches.

Church was a leading member of the Hudson River School of landscape painters, active in the mid-19th century, and a key American exponent of the oil sketch which he executed both at home and on his extensive travels to Niagara Falls, Labrador, Jamaica, Mexico and the Middle East.

Oil sketches have become objects of appreciation and study in their own right. Among students of American art, Church’s sketches in particular are admired for their freshness and originality.

This exhibition brings together around 25 oil sketches. Works are drawn from the incomparable collections of the Cooper-Hewitt Museum, New York, and Olana, Church’s picturesque estate along the Hudson River, now a New York State Historic Site.

They are joined in the exhibition by a single, monumental painting, 'Niagara Falls, from the American Side' (1867), showing the relationship between sketch and finished masterpiece.

The exhibition will travel to the Scottish National Gallery, Edinburgh (11 May – 8 September 2013).

This exhibition is organised by the National Gallery in partnership with and through major support from the Terra Foundation for American Art. Additional support comes from The Olana Partnership and generous loans from Olana and Cooper-Hewitt, National Design Museum, Smithsonian Institution.

The National Gallery, Trafalgar Square, London WC2N 5DN

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The photographers gallery.

	Alison Stolwood Work!!
	Perspectives on Collage showcases eight approaches to collage. From conceptual to political and cultural           critique, this show highlights the enduring relevance of collage.

Jan Svoboda’s photographs provide the exhibition with its starting point. Work includes Fragment of a Table (1973), the artist’s exploration of the photographic plane using torn-up and folded remnants of his own works in simple arrangements.

Peggy Franck creates assemblages from everyday materials, these are photographed and re-presented as ambiguous two-dimensional images. 

Nicole Wermers’ collages borrow from the worlds of design, fashion, advertising and architecture magazines. She rearranges her source material into abstractions while retaining their original commercial allure. 

Batia Suter presents Wave (2012) a sculpture of overlapping books featuring photos of waves.

Anna Parkina works in sculpture, painting, photography and performance. Her collages re-appropriate her own photographs into densely layered compositions while echoing the Russian avant-garde, Seventies punk and the cinematic. 

C.K. Rajan’s collage series Mild Terrors (1992-96) juxtaposes newspaper images of man-made landscapes or buildings overlaid with close-up details of glamorous magazine images. Delicate but politically charged, the series responds to the surreal, social and cultural contradictions of economic modernisation.

Roy Arden’s tactile collages cast an analytical eye on history while exploring psychological and political themes. The exhibition features nine works including Sweeper (2009) where a man sweeping the ground throws up a cloud of coloured papers and photographic fragments.

Shapes,Objects,Patterns And Things!!!

Things,Objects And Non-Objects!

Mini Bouquets

Research And images.

Daily Images I Capture From Life!!!

The daily walks of life on my daily travels as a photographer and what catches my eye thes are a few of the things,objects and non-objects of what i have shot as part of my research for my university project. Which is call things,objects and non-objects. These images are shot on a digital camera and shot in the day time the next step in which i would like to take is shotting on blcak and white. I will then transform these images into a piece of based on the fact of the word object or non-object so what i have tried to do and produce is a image of a thing or object and then print that image on to a series of different nature objects of everyday life such as wood,bark,stone,leaves,branches and grass.

These images are just some of the types of things,objects and non-objects that have caught my eye through the lens on a daily basis i love just walking around the streets and capturing all different walks of life in a different form of element.

This one particulare image was shot in my university of a students piece of work the reason in which i shot it was because of the reflections within in mirror of the mushrooms caught my eye and just the different shapes and movements it creats.

Printing Photographic Images On Objects...

Printing On Bark!! 

Printing On Leaves!!!

Printing On Stone!!!

Stone lithography was the first printmaStone lithography was the first printmaking technology that allowed a traditional artist to work using traditional techniques, and to create prints that could rival an original painting in terms of detail, mood and color variations. Stone lithography was popular for about a century during the 1800s, and is still practiced today by artists andlithography studios.

Ever since man first created his earliest works of art thousands of years ago, there have been two parts to the artistic process. The first part happens in the artist's mind, where he or she conceives of the idea that will be portrayed in the work. The second part happens in the artist's hands, as the idea is translated into a specific medium that other people can appreciate. Visual mediums can be quite diverse and include:

• Charcoal on cave walls (one of the earliest mediums)
• Charcoal, crayon, pencil, watercolor or ink on paper
• Oil paint on canvas
• Paint on wet plaster (fresco)

(We've ignored sculpture, music, dance, film, etc. and have focused on visual media that are comparable to the topic of this article.)

When the printing press first appeared on the scene, it opened up a new medium in the form relief prints. The artist could carve an image onto wooden or metal blocks, ink the block and impress it on paper. Relief printing created the first form or reproducible art.

The problem with relief printing is that the artist must carve the image, and the carving action is unnatural to an artist who normally works in a medium like paint and pencil.

Printing On Wood!!!