CALL FOR WORKSHOP LEADERS OR TUTORS!

PAWA wishes to increase the number and diversity of workshops to be offered to members.  The Association has offered a few workshops from time to time and they have been well attended.  Unfortunately, only a very small number of PAWA members have been willing or able to donate the time to conduct such workshops.

PAWA is therefore exploring the way in which it will be able to pay workshop tutors or leaders to conduct workshops in the hope that PAWA can offer more workshops.  If we can do it the proposal will be to work out a commercial rate for such work and pay lecturers and tutors at that rate.

This is a call for expressions of interest from members willing to consider offering services as a workshop leader or tutor.  If PAWA can achieve its purpose then the hope is that we will  be able to offer workshops covering all aspects of printmaking.

If you do offer your name, it will not in any respect commit you to conduct a workshop.  At this stage, this call is merely to gauge the interest of members and to ask how many are willing to act as paid leaders or tutors.  If you wish to express an interest, could you please send an email to that effect to: printwa@iinet.net.au

Please indicate what type of workshop you would like to conduct.  If  you do express an interest we will be in touch in due course to discuss this with you.

In the meantime, happy printmaking.
Chris Pullin – President

Should digital prints be exhibited in PAWA’S exhibitions?

digital
adjective

1.of or relating to a digit
2.resembling a digit or finger
3.having digits or digit-like parts
4.ELECTRONICS of or relating to unit of information that exists in two states only,on and off, as pulses (opposed to analog); binary:digital signals COMPUTERS of or relating to binary data

Macquarie Dictionary

When I first thought about this question, I thought the headline might be ‘Are digital prints art?’.  I quickly realised the question was easy to answer.  The answer is “yes”, because the word ‘art’ can be so broadly defined that it would certainly encompass digital prints.  William Rubin, the director of the Museum of Modern Art in New York was said to have pronounced that there is now ‘no single definition of art’.  If there is no single definition of art, there is no basis for excluding digital prints.

However, it is valid to ask the question appearing in the headline.  In the constitution of this Association, the objects are stated.  The first of these stated objects is to further knowledge and appreciation of the ‘traditions’ of printmaking.  The second object is to ‘promote the production … of prints … including … the techniques of etching, engraving, lithography, wood cuts, lino cuts, screen printing and other forms of media used in the art of producing hand printed graphics as well as any other process used by artists when reproduction is an organic component in the production of their work’.  Another object is to promote and encourage experimentation in the production of prints ‘as above defined’.

I have noticed in exhibitions of this Association there is sometimes a special prize for digital prints and I have wondered why that is so.

The objects of the Association make it clear that experimentation is encouraged in printmaking.  However, the experimentation is to be in the ‘tradition’ of printmaking.  This does not mean that artists in this Association should be thinking only in terms of techniques known at some specific moment in time.  If that were so, and 1790 were chosen as the date, then lithography would be excluded because Senefelder did not discover the technique until 1796.

However, it strikes me that something is strongly characteristic of the ‘tradition’ of printmaking, even if invented recently (such as the lino cut).  That characteristic is human involvement and the resultant variability in the process of generating a print.  Printmakers must be both artists and technicians.  When a printmaker completes his or her artwork they then become a technician. They prepare the plate or block, ink it up and print.

Whether the work is an etching, engraving, wood cut, lino cut or  lithograph (to name a few) the output is characterised by variability. Each print to a greater or lesser degree will differ from other prints and from the original.  The variability is brought about by human involvement in the technical process of printing. In an etching it depends on how well one inks up or wipes back the plate. In a lithograph how well the roller is charged.

On the other hand a print produced by an inkjet printer or a laser printer has no human involvement and as a result no variability.  An artistic work is produced, but if they are printed on a laser or inkjet printer, human involvement is limited to clicking the print  button and taking the prints out of the printer tray. Thousands of prints can be produced with no variation save when the ink cartridge runs low and has to be replaced.

In past PAWA exhibitions there has been no category or prizes for photographs.  I think everyone recognises that printing a photograph is not within the ‘tradition’ of printmaking.  However, if a photograph is produced via a digital camera and out of an inkjet or laser printer, then it is technically a ‘digital print’.

My conclusion is , that although digital prints can  be classified as art, a print which is produced on an inkjet or laser printer is not a print in the tradition of printmaking.

Having thrown that controversial view into the ring, I would be interested to know whether it stimulates any contrary view. I should stress that this is a personal view. It has not yet been discussed at committee level.

In the meantime, happy printmaking.
Chris Pullin – President

PS  Accompanying this letter is cartoon which I drew, scanned into a computer and reduced in size on the computer. If I print it out on good quality paper using archival ink, will it be a “digital print”?

PAWA 2012 Workshops

Dowload the Workshop Booking Form

INTRODUCTION TO WATERLESS LITHOGRAPHY
Tutor:             Chris Pullin
Cost:              Members $100, Non-Members $110
Date:              Saturday 17 March 2012
Time:             9:30am – 4:00pm
Venue:           Lala Oh’s Mundaring Studio, 135 Vernon Ave, Mundaring
Max Class Size:   10
This workshop will introduce participants to non-toxic waterless lithography, a technique using silicone to repel ink instead of water as used in the stone lithography process.

ARTWORK PHOTOGRAPHY AND DOCUMENTATION
Tutor:            Susanne Hamlin-Sullivan
Cost:             Members $85, Non-Members $95
Date:             Saturday 21 April 2012
Time:            10:00am – 4:00pm
Venue:          PAWA ‘Annexure’, 135 Vernon Ave, Mundaring
Max Class Size:   5

Learn how light and atmosphere can enhance the photography of your art. You will also be taught about best backgrounds to photograph against, to flash or not to flash, pixel and camera settings.  This workshop which will assist you to photograph and record your art works in digital form, and will include examples of how your high quality images can be used in supporting documentation to promote your art practice.

PAWA 2012 Exhibitions

PAWA has planned two exhibitions for this year and some workshops.

The  exhibitions are to be held at:
(a)    Atwell House, commencing on 26 July, 2012.
(b)    At the Midland Arts Centre, commencing on 16 September, 2012.

Atwell House.
Atwell House is a community arts centre located at 586 Canning Highway (at the junction with North Lake Road), Alfred Cove. It is air conditioned and there is plenty of parking available. If you have not been to Atwell House  then do call in to have a look.  Exhibitions will be running at the gallery  between now and July.  Atwell House has a website.  Just Google ‘Atwell House’ and you will find a link.  Hilda Klapp, our PAWA Secretary has an involvement with Atwell and Hilda says that the gallery receives a lot of visitors.

The Midland Arts Centre.
This is becoming an important arts community hub.  It is located at 276 Great Eastern Highway, Midland.  It has been recently refurbished.  It is operated by the City of Swan which is generously supporting the arts in the area.  The arts centre is surrounded by attractive buildings and there is a restaurant nearby.  You can see photographs and location information by going to the City of Swan website. I hope to have some more exciting news about this centre in the near future.

I do urge members and other Western Australian printmakers to support these exhibitions.  The exhibition at the Midland Art Centre will be the Print Media Awards Exhibition.  It is the premier exhibition for Western Australian printmakers.  We will have a curator to select works. The City of Swan is giving generous support in relation to the advertising of this exhibition, in relation to prizes and in relation to other costs involved.

Until next time, happy printmaking.
Chris Pullin – President

Edward Lear

President’s Letter

Edward Lear was an English author and artist.  Most people know of him via his nonsense verse.  Most readers will be familiar with his poem which begins ‘The Owl and the Pussycat went to sea/in a beautiful pea green boat’. (see Lears drawing below)

He was an accomplished lithographer.  He drew and prepared lithographic prints of birds for John Gould’s ‘Birds of Europe’ and ‘Birds of Australia’, although he is rarely given much recognition for this work.  However, his master work was a series of lithographic prints of parrots.  He published these lithographs in series, intending that they should make up a monograph.  This was a work of extraordinary virtuosity, given that he was only a teenager when they were produced.  A search in Google ‘Images’ of ‘Edward Lear’s Parrots’ will show you some of them.  Like most printmakers, he struggled to make money out of his prints and in the end he gave it up for lack of financial support.  This was very sad because he was head and shoulders above all the other bird illustrators of the 19th century and first half of the 20th century.  In my opinion, he was much more talented that Audubon and Elizabeth Gould.  He would have been startled at the enormous prices now demanded when a volume of the parrot prints comes up for sale at auction.

I became interested in his bird illustrations when I came across them in the 1970s.  In the 1980s, whenever I found a good reproduction, I copied them to learn from his drawing technique.  Attached is a portion of my copy of Lear’s ‘Eagle Owl’.

Lear’s ambition was to make his living and gain recognition as a landscape painter.  His landscapes are pleasing but he never succeeded in his ambition.  He was an inveterate traveller and he published several volumes describing his travels.  One of them ‘A Landscape Painter in Southern Calabria’ describes his journey around the toe of Italy.  This, and his other travel books relating to Albania and Corsica are highly readable even today, and reveal his whimsical sense of humour.  He also illustrated his books.  ‘Southern Calabria’ is illustrated with lithographs of towns that he visited.  One of them is an illustration of ‘Gerace’ which is reproduced below from my copy of this book.  In 2009, Sally and I set out to follow in his footsteps in Calabria.  We visited Gerace, which is a beautiful hill town frequented by very few tourists, but which has a very comfortable hotel.  While there, I had the good fortune to meet one of the descendents of the Scaglione family which provided accommodation to Lear in Gerace in 1848.  He is an expert on Edward Lear and has a considerable collection of Lear material.  He pointed out to me the room where Lear stayed in his family’s home more than a century and half ago.  Lear’s work and Paul Wunderlich’s lithographs fostered my interest and naturally I attended the demonstration weekends organised by PAWA a couple of years ago where we were taught the process of stone lithography.

Until next time, happy printmaking.
Chris Pullin

Paul Wunderlich

President’s Letter

Paul Wunderlich died last year on 6 June.  He was 83. In my opinion he was one of the great printmakers of the second half of the 20th century.  His imagery carries echoes of the surrealists and particularly the slightly hyperreal aspects of Salvadore Dali’s work.  He began printmaking as a student in Hamburg in the 1940’s just after the second world war.  He has produced  etchings, dry points and monoprints, not to mention paintings and sculptures, but his great strength was as a lithographer.  Using many, but appropriate adjectives, his lithographs are characterised by confident, delicate, sinuous and graceful lines and curves, subtle shading and an interesting mix of monochrome and colour.  The subtle shading in his lithographs, was achieved, I guess, by applying tusche onto the stone with an airbrush.  He perfected his technique in the 1960s.

I first saw his work at a solo exhibition at Magda and Doug Sheerer’s Dusseldorf Gallery  in 1980 when it was located in Allendale Square.  Displayed in the exhibition there were several lithographs, taking motifs from Manet’s “Le dejeuner sur l’herbe”.  A portion of one of those prints is reproduced below.  It provides an excellent example of his crystal-clear imagery subtle shading technique and graceful linear work.

In the 1990s he worked on a series of dry point etchings.  Although these differ from his lithographs and lack colour, they still display his fluid linear style.  You will find many examples of his work by searching in Google ‘Images’.  He became an important and well recognised figure in Germany and in 2007, Chancellor Merkel opened a new administrative centre in Eberswalde – Wunderlich’s birthplace.  The centrepiece of the new complex is the “Paul Wundelich-Haus” in celebration of one of the city’s great sons.

Until next time, happy printmaking.
Chris Pullin. President.

Future Engineering

President’s Letter

Alex Ardizzone is the owner of Future Engineering which has been a long time supporter of PAWA.  I took the time to call on Alex soon after my election as President.  His company is a thriving engineering business, carrying out manufacturing work for the oil and gas industry. It also manufactures etching presses for artists.

Alex’s first contact with PAWA was about 20 years ago when a now deceased member asked him to design a printing press.  Starting from scratch, Alex worked out a design and after various improvements now manufactures two standard printing presses. They are the equal of or better than many presses manufactured in Europe or elsewhere in Australia.  One of the standard presses is the full sized version which can be seen at the PAWA premises at Tresillian. This a geared model and can be operated by even a slightly built person.  The other is a smaller bench press which Alex has donated in the past for acquisitive first prizes in exhibitions sponsored by PAWA.  In Alex’s office he has many of the prints acquired from PAWA in past exhibitions.

Alex’s donation of printing presses in the past has provided extremely generous support for our Association and I thought that it was time to thank Alex and Future Engineering, on behalf of all our members, for their long time support.  Thank you Alex.

While I was with Alex he showed me images of his presses on one of those splendid software packages which allows an object to be shown and then repositioned to be viewed from any angle by a mere click on the mouse.  The drawings are works of art in themselves.  If you would like to obtain details of the printing presses which Alex can manufacture, go to the excellent website of Future Engineering at  www.futureeng.com.au

If you should want to buy a printing press, then Alex is the person to speak to. And when doing so get him to show you the drawings on his computer

Until next time, happy printmaking.
Chris Pullin. President.

Jacksons Drawing Supplies

President’s Letter

Jackson’s Drawing Supplies has been, in terms of art supplies, my Aladdin’s cave for over 40 years.  I have had some connection with Jacksons for that whole period.  My family lived opposite Harry Jackson the founder in the 1960s.  I worked at the Subiaco store in my University holidays about 43 years ago.  I knew Kevin Jackson who took over the business after his father died and I recently spoke to Michael Boercamp, who is the new owner, and who bought the business from Kevin.

Jackson’s Drawing Supplies has been a supporter of PAWA over the years.  The business is now making a special effort to support printmakers by introducing a range of printmaking products and by employing Kathy Borona, who is an accomplished printmaker in her own right.

On 25 September at the Subiaco store, Kathy demonstrated some of the new printmaking products.  They included Gamblin relief and etching ink.  Also demonstrated were Charbonnel inks, both oil and water based.  This latter ink is very adaptable and can be used for both relief and intaglio methods.  A copy of the Charbonnel brochure is attached.  Jacksons also supply a range of attractive papers which can be used for printmaking, including Arches,BFK Rives, Magnani, Stonehenge and Hahnemuhle.  If you want to know whether Jacksons are able to supply products for your particular needs, then you should contact Kathy at the Subiaco store.  She will be pleased to hear from you.

Until next time, happy printmaking

Chris Pullin
President

Non-toxic waterless lithography

President’s Letter

I mentioned in an earlier letter that I would say something about non toxic waterless lithography.

Non toxic waterless lithography is a planographic printing method. How non toxic is it? And how waterless is it? The answer to the first question is “to some degree”. The answer to the second is “nearly”.

It is certainly less toxic than traditional stone lithography. Traditional lithography employed toxic substances like nitric acid which could burn your fingers down to the bone or blind you in no time. Waterless lithography uses silicone, odourless solvent and  acetone. I wouldn’t like to swallow a spoonful of these but at least they don’t cause any noticeable immediate effect on skin. However,  gloves should still be worn. Traditional lithography employed  thick stones weighing many kilos which could break your back. Waterless lithography uses aluminium sheet about 0.1mm thick weighing a gram or two depending on your plate size.

It is waterless in the sense that silicone, rather than water, is used to repel ink in the areas where you don’t want ink to stick to the plate. The very great advantage of the method is that it is clean to use. Inking up the plate is done on a sheet of MDF or plywood or other material which is coated with  silicone. As the roller comes off the plate the ink is repelled by the silicone on the base plate and picked up again by the roller so that there is no messy excess ink around to contend with.

In short, the method involves cleaning up an aluminium plate using water and “Jif” and then
(a)    Drawing on the aluminium plate using, inter alia, Sharpie felt tipped pens (which can be bought at Officeworks) or Staedtler Omnicrom pencils.
(b)    When the drawing is complete the plate is coated with a mix of silicone (gutter and roofing from Bunnings) and Art Spectrum odourless solvent( from Jacksons Drawing Supplies), buffed off using a roll of tissue (ie toilet paper) and then dried on a hotplate.
(c)    When it is dry, acetone on tissue is wiped over the plate and it magically removes the image exposing bare aluminium where the lines were drawn.
(d)    The roller is the loaded up with Vanson rubber based ink (which can be  bought from MES)  and the plate rolled up. The ink sticks to the exposed aluminium (where the drawing was) and is repelled by the silicone mix which remains elsewhere on the plate.
(e)    The plate is then placed in an etching press and printed in the usual way. Voila! A print.

Actually, as simple as it sounds (and it is) a demonstration helps to master the technique. If enough interest is shown a demonstration day might be organised sometime in the future. Or you can go to Florence next year and learn from the masters, Annie Day and Robin Ezra. (see my previous letter in PrintNews.)

Until next time, happy printmaking.
Chris Pullin
President