![]() ![]() Unlike in relief printing where the ink sits on the raised surface of the matrix, the ink comprising the image of an intaglio print sits within the gouged or recessed areas of the plate and the flat surface is wiped clean. In intaglio processes, the matrix, most commonly a metal plate, is gouged either manually (with hand tools) or chemically (using a corrosive material). Intaglio is an umbrella term that refers to a variety of printmaking techniques, including drypoint, engraving, etching, aquatint, spit bite, mezzotint, and photopolymer printing. Most people are familiar with some form of relief printing – a common example would be a rubber stamp, though one could even think of fingerprints as tiny relief prints. The remaining flat, raised surfaces constitute the image area and receive the ink that is ultimately transferred to paper under pressure. It is a reductive process in which the non-image areas of a matrix, most often wood or linoleum, are carved away. ![]() Relief printing is the oldest print medium. ![]() Drawing I is the prerequisite course for the Introduction to Printmaking. Introduction to Printmaking is a prerequisite course for the intermediate and advanced printmaking courses. Emphasis is given to examine individual concepts through various printmaking mediums. This course provides a hands-on experience for exploring basic printmaking processes, including relief, intaglio, lithography and monotype processes, as well as investigating materials, tools, techniques, curation processes, and print shop safety. There is a large group of printmakers in the Southwest and UNM Printmaking serves an important leadership role to this community. In addition, the Printmaking Area has offered annual community outreach projects and has collaborated with many different groups, including public schools and non-profit, social welfare organizations, both nationally and internationally. During this course, printer trainees at Tamarind collaborate with UNM students to print multiple lithographic editions. ![]() Unique to UNM is the Collaborative Lithography course taught in partnership with the world-renowned Tamarind Institute of Lithography. Besides traditional Printmaking, students are also challenging the medium’s role in the larger context of contemporary art through interdisciplinary concerns and innovation. The UNM Printmaking Area offers instruction in various print mediums – including Intaglio, Lithography, Monotype, Relief, Serigraphy, and Digital Processes. STENCIL/SILKSCREEN plates are created by squeegeeing Akua™ Carborundum Gel through a hand/machine cut or any silkscreen stencil.Printmaking has provided the historical frame through which all artistic media are referenced and disseminated, in addition to being a distinctive art form in its own right.DARK FIELD is a subtractive method where Carborundum Gel is applied over the entire printmaking plate and the image is created by removing the medium with various tools.LIGHT FIELD is an additive method where the image is created by applying the Carborundum Gel directly on the printmaking plate.Three approaches include Light Field Dark Field and Stencil Methods. There are numerous ways for using Akua™ Carborundum Gel for producing carborundum plates. As a result, prints will be strong and vivid, each and every time. Carborundum Gel is performance-tested, so printmakers can rely on the consistency of this platemaking medium from start to finish. Akua Carborundum Gel improves results by offering a formulation that is consistent and reliable. Printmakers have been experimenting with methods for making carborundum prints for decades. This ready-to-use platemaking gel offers a reliable medium that delivers fine, sharp detail and a uniquely textured surface that yields rich, velvety areas of color. The Akua Carborundum Gel for Platemaking is used to create collagraph printmaking plates. Akua carborundum gel comes in 236ml jar (8oz.) ![]()
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