Making Prints in a Digital World
Final Project Report:
29 September 2001
Our project spanned the full 2000-2001 academic year, with the students working on projects in the fall, and exhibitions of the work in physical and virtual galleries in the Spring and Summer. It began with the concept that printmakers have always been on the leading edge of new technologies. Soon after the creation of the printing press, artists recognized the inherent artistic and communicative opportunities of creating "multiple originals". Throughout the history of the populist medium, artist’s use of relief, intaglio, lithography and silkscreen grew in response to the creative endeavors of the commercial world. In return, the artists themselves contributed to our understanding of the print processes and their potential. It seems only natural then for today’s reproductive print media to find its way into the artistic processes of Printmaking.
In addition, we find value in the historically communal nature of printmaking, from assistance with the execution of technical methods to the excitement of sharing ideas in critiquing sessions. Therefore we placed an emphasis on understanding the process of artistic collaboration, addressing issues of communication, creation and output of digital prints, and traditional versus virtual exhibition of that work. We began as collaborating faculty and in turn gave our students assignments to collaborate on a print project through their own methods and initiatives. Our classes learned their respective traditional media first (Intaglio for Denison Students and Silkscreen for Kenyon Students) and then learned digital methods to enhance those processes (using Photoshop and inkjet printing). Students could choose to e-mail images to each other, or meet in person to exchange ideas. They could work individually first, producing a finished print and then exchange them for the other artist to develop further, or they could work from the ground up on the composition and concept together. Some students chose to do the entire project digitally, without accessing the traditional methods. Others chose to have traditional methods at the background level and digital methods in the foreground. No one chose to forego the digital methods entirely. Within the project, we contrasted long-distance learning (i.e. email communication and presentation) with traditional in-person collaborative teaching.
We began the presentation of the assignments individually, but in the second half of the semester we each lectured in the other’s classroom. Claudia lectured on Photoshop techniques in two sessions at Denison’s communications lab. Ron gave a slide lecture about “Appropriation” describing issues the students were dealing with by using each other’s work and references to popular culture and the fine arts (In fact he gave the lecture in two of Claudia’s classes). Students met at a gallery opening at Denison initially and then were responsible to communicate and create their project. As in all groups, there were some collaborations that went more smoothly than others, but everyone produced work in the end. One variable we knew would be challenging was the differing level of experience in our two classes. Most of the Denison students were first year non-majors, because the class had no prerequisites, and most of the Kenyon students ended up being intermediate to advanced art students because it was an intermediate level class. This was unavoidable due to the curricular structures established in each department. The level of experience had little effect on work habits, in which personalities guided the style of engagement. It is fair to say that learning about collaborative work, issues about decision making and compromise were focused on in addition to the technical media. The subject matter of the collaborative student work was heavily influenced by the student's shared liberal arts experiences, ranging in topics from issues of gender, language, race, pop culture and environmental concerns. It was interesting to see how the use of technology (specifically incorporating photographic imagery with drawing) allowed students to relate their work on a personal level as well as see it within a broader contemporary view.
This project was pursued with the following questions in mind: Can the computer equal the impact of an image crafted by hand? What advances in the output of digital images can address the tactile relationship of ink and paper integral to the discipline? Intaglio Printmakers have always been enamored and even obsessed with the seductive raised line of an etching, the texture of a soft ground, the heft of the printed paper, embossed through pressure from the press. Serigraphers have used poster making technology to create large flat areas of color; bold and intense and photographic representations in halftones. They made prints that could be glued on billboards and stenciled on walls. All printmakers are interested in the reproductive nature of their images and the qualities that occur through layering. Certainly digital images can’t do all of these things, but we came to be amazed at what inkjet prints can do. The bold broad areas of color are easy, less opaque than silkscreen but more consistent than intaglio. Layering techniques work well, especially with the more transparent dye-based inks. Photographic images are what digital methods excel at, using scanners, manipulating in photoshop and printing out on watercolor paper. The democratic nature of the process is even stronger because of the ease of printing and transmitting. (Ease of printing is a variable dependent on quality of printer, etc)
The training for Ron and Claudia in digital media changed over the course of the year. Initially the intention was to attend a workshop at Cone Editions in Vermont, a premiere fine arts digital print shop. This workshop was postponed three times by Cone Editions, and eventually cancelled. We decided that we also needed help learning web programs for our virtual gallery and took two different workshops in web design. Initially we had planned for students to learn and do the web page. Some students did work on the page in the spring, but were unable to complete it. Ron took a workshop for “Dreamweaver” at the School of Visual Arts in NYC in July, and Claudia attended the Thunder Lizard Conference in Web Design, also in July. With student technicians in place, students worked on both campuses in the spring as well. At Denison, the new technology quickly became integrated into the running of the printshop, with advanced print students continuing to experiment and innovate. Ron advised a student summer project that combined photoshop/web design into the final research. As faculty, we had to take two different workshops because of personal timing, but also hoped that we could learn more that way and share what we learned with each other. Although that was true to a degree, Ron’s course and subsequent instruction for Claudia proved invaluable in the process and the additional information from Thunder Lizard filled in some of the blanks after we had an initial design. In the process of creating the webpage, as well as in our collaborative digital print, through email and in person, we, in fact, emulated the same constructive relationship demonstrated by our students. Our website is now up at http://www2.kenyon.edu/people/esslinge/mellon/welcome.html
With the physical exhibition of the work at the NewArt Gallery on East Main Street in Newark, our collaborative project extended into the nearby community as well. The exhibition was seen by numerous school children in the area as well as local community agency leaders, Newark Mayor Frank Stare and representatives from city offices. Visitors to the exhibition were not only impressed with the student work but fascinated by how it was created and its possibilities. Also seen in this exhibition was work by a student from the fall print class who continued to integrate not only etching and digital printing, but community collaboration. Ryan Zamberlyn worked with two students from the Newark's Alternative Academy on a Homelessness project (in conjunction with a community project administered by Denison Pscyhology professor Marci McCaulay). Ron sees the role of technology being an important link for future university and community partnerships.. This coming year, Newark is opening "The Collaboratory," an extension of the Institute of Industrial Technology, as a studio/digital lab for kids to collaborate through the use of technology. In contact with its Director Kate Harkin, the possibilities exist for continued involvement of print students in that endeavor as well.
We as faculty grew tremendously through this collaboration. The opportunity for further training and the options to train our students in new technologies was invaluable. The interaction between us has built a lasting bond that will enhance our classes and our work in the future. The student interactions enabled broader world views and appreciation of what can be done. The entire year required quite a bit more work than an ordinary class, but the lasting effects will be well worth it. Thank you for the opportunity to extend our classrooms in this way.
Ron Abram, Associate Professor of Art, Denison University
Claudia Esslinger, Professor of Art, Kenyon College