Between digital and physical: some thoughts on digital printmaking

Paper discussing how digital printmaking relates to traditional physical printmaking. The relationship between online image and the physical product and how they fundamentally differ. Paul Coldwell uses examples of his own work to explore these ideas

In exciting times

An overview of contemporary printmaking

Print-Media Beyond Academia

Printmaking as an art discipline has been taught in different visual and fine arts academic programs around the world for hundreds of years. Thousands of printmaking students have graduated from different Art schools hoping to continue pursuing and fulfilling their artistic aspiration and passion, however, only handful of those, mostly university-affiliated, manage to do so. Obviously many factors may contribute to that phenomenon, however; the unavailability of printmaking equipment, which exist mainly in the educational institutions, the high cost of printmaking materials and the absences of the promotion and marketing of printmaking art, may be the most conspicuous factors that drive printmaking artists to quit. This research aims to explore new approaches that enable printmaking students to continue working in the real world after leaving the confinement of their educational institution and to investigate different possible solutions that may allow Printmaking Art and Artists to survive outside the Academic institution. Keywords: Print-Media, Printmaking Art, Printmaking Art Education, Experimental Printmaking, Printmaking Co-Ops

The Non-Toxic Contemporary Approach to Teaching Printmaking Art

Printmaking is a universally acknowledged and widely practiced discipline of art and art education that has historical roots going back several centuries. Unfortunately, most traditional printmaking techniques were invented hundreds of years before the concepts of occupational health & safety and environmental awareness were developed. Consequently, issues related to ecological conservation, health and safety have not been fully reconciled with the traditional practices of printmaking art. Meanwhile several printmaking educational programs especially in the US and Europe have already adapted to the contemporary Non-Toxic approach to teaching printmaking art, printmaking educational art programs in the Middle East are still grappling with the traditional concepts and teaching restrictions of “Original printmaking”. This research investigates different health and ecological aspects related to teaching traditional printmaking techniques, and suggests other relevant Non-Toxic alternatives. Keywords: Printmaking Art , Non-Toxic Printmaking , Printmaking Art Education

Materiality and surface of the digital print

This paper discusses how the materiality and surface of the digital printmaking process may be seen as visually evidenced in the resulting printed imag

Printmaking of the Past, Present, and Future: The Legacy of Sam Z. Coronado

Latin American Studie

Christiane Baumgartner: between states

This essay has been written and published following a public conversation with Christiane Baumgartner at Chelsea College of Art & Design

South Africa: Artists, Prints, Community: Twenty-Five Years at the Caversham Press

This is the catalogue of the exhibition "South Africa" at Boston University Art Gallery

Paula Rego: printmaker

‘Paula Rego: Printmaker’ is an extended essay commissioned from the author by Marlborough Fine Art and Talbot Rice Museum, Edinburgh, for the illustrated catalogue to accompany the touring exhibition of Rego’s graphic work. My essay reveals Rego’s working method, and places her prints within the overall context of her practice. The essay contains much original research evidenced over a 20-year period of collaboration with the artist, including first hand observation and hitherto unpublished stage proofs revealing the progression and development of images from first stage to final print