Art Articles & Reviews

} Why do Printmaking? Printmaking Series - Part 1 of 21 By Nik Semenoff Unlike painting and drawing, printmaking can be considered a long dragged out method of producing artists images. It usually requires expensive equipment and materials, as well as technical knowledge and meticulous adherence to processes. Even with all these drawbacks, many artists devout much of their efforts to print media. I cannot tell you why others choose printmaking, but I have my own reasons that may give readers an insight to why printmaking. Nik Semenoff I was trained as an oil painter as that was all that was taught locally when I was young. When I encountered offset lithography in my work as a graphic designer, I discovered how the overlaying layers of colors and images would come closer to my view of what art could be. The ability to pull together a group of seemingly unconnected elements into a finished picture excited me, unlike painting. Drawing on the lithographic plate or stone was an stimulating experience as the magic of chemistry transformed the image into a large number of prints. I found that lithography was extremely versatile even though it was very complicated to execute. The fact that multiples could be printed was not my major reason to continue printmaking. Davis Te Selle There are a number of current printmaking methods used by artists, depending on their training and available equipment. While lithography and intaglio require expensive presses, woodcuts and screen printing can be done on a shoe string. Some of the most powerful prints I have seen were editioned from scrap lumber carved with a knife, making it a method of communication for the hard-up. On the other hand, the Japanese have carried woodcuts to the highest level producing multicolor prints in a highly ritualistic procedure. The speed of producing screen prints has been one of reasons it has been popular amongst artists since the mid of the 20th Century. Intaglio had been regarded the paramount of the print media for centuries and is still practiced by the majority of printmakers. Printmaking is now considered dangerous as toxic chemicals are encountered in the studio and has taken a blow from the art community in general. Considering all the difficulties in printmaking, there are still thousands of artist who prefer to express themselves through these methods. It takes people who can concentrate on the task over an extended period and not bothered with the technical complexity of working. It is the final image that energized the artist and the path that it took to arrive at the ultimate expression. I believe it was Degas who exclaimed, "If only one print could be taken from a drawing on stone, I would still prefer to do lithography". Few artists do their own lithographic printing as the technical demand and necessary knowledge is not what most want to get into. Collaborative fine art printers have been available for anyone willing to pay the production cost. Because of the price of presses, few enthusiastic printmakers can afford one, so cooperative workshops have been setup in some of the major cities. Having ones' painting or drawing reproduced by a commercial offset press with the 4-color photo process is not fine art - just a cheap reproduction. Signing and numbering the prints does not make them art objects. ________________________________________________ Copyright © 2004 Nik Semenoff Nik Semenoff Artist-in-residence University of Saskatchewan Visit Nik Semenoff's website at duke.usask.ca/~semenoff/ for more information.