GRAPHICS PRO

July '21

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9 2 G R A P H I C S P R O J U L Y 2 0 2 1 G R A P H I C S - P R O. C O M S I G N A G E & P R I N T I N G T H E D I G I T A L E Y E | S T E P H E N R O M A N I E L L O O nce upon a time when there were no computers, sign painters painted signs and billboards with pigment and brushes, most prints were made with printing presses, photographs were always printed in a darkroom, and special effects were achieved optically with giant process cameras. We've become so dependent on these little boxes it's hard to imagine what the world would be like without them. But at one time, not too long ago, at least in my memory, the world was "EA" — entirely analog. And although some of these older technologies may appear quaint to us today, they are the foun- dation of the modern digital workflow. ARTISTS Leave it to the fine artists to maintain an enduring relationship with the past. They continue to produce images with traditional media, like drawing, paint- ing, and printmaking. There are many artists, however — especially those ad- venturous ones — who like to experi- ment and find that incorporating com- puter technology such as scanners, digi- tal cameras, software, and printers into their creative process extends their capa- bilities and endows their work with even greater possibilities. In this Digital Eye, I want to examine how pictures can be transferred — pro- cesses artists use to move an image from one surface or medium to another. The transfer technique used will greatly de- pend on two factors: the material the source image is on and the material the destination image will be transferred to. As you will see, transfers can be simple, employing solvents or wax, or extremely complex using special films, mediums, TRANSFER TECHNIQUES TRANSFERRING IMAGES BETWEEN MEDIA TYPES Figure 1. Brush the acetone onto a small area on the back of the print using a soft flat brush. With a soft pencil, densely scribble on the back of the print to fully cover the wet area. (All images courtesy Stephen Romaniello) Figure 2. Repeat the process until the entire back of the image is entirely covered first with acetone and then with pencil lines, working on one small area at a time.

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