The variables that affect colour in the digital textile printing process
(2019)
author(s): Becky Gooby
published in: Research Catalogue
The development of digital printing is a major change within the textile design process as a designer is no longer restricted to number of colours, repeat patterns, and may include photographic images and intricate detail. With digital print it is now possible to print anything between a metre, or hundreds of metres, at the click of a button.
However, there is a marked difference between screen-colour and print colour. A textiles designer using Computer Aided Design (CAD) to create a design will be required to experiment with a number of variables in order to feel more confident about the outcome when using digital fabric printing.
Dürers Kleden og Picasso Pussy
(last edited: 2025)
author(s): Nina Björkendal
connected to: University of Agder, Faculty of Fine Arts
This exposition is in progress and its share status is: visible to all.
her skal det komme en oppsummering
Inn i margen
(last edited: 2025)
author(s): Nina Björkendal
connected to: University of Agder, Faculty of Fine Arts
This exposition is in progress and its share status is: visible to all.
Into the margin/In the marrow
This is a woodcut printmaking project based on the book as body, form and platform. It is about the formal aesthetic layout of a book, but also about references to the bodily. In norwegian you have the expression "to feel something into the marrow" leads to reflections on identity and feelings. Also the word marrow is the same as margin. The book's margin offers space for the eye and space for your own notes. It becomes a way to communicate with the author's voice. The types, i.e. the letters in the prints, are found objects. Random bits that others have made. The woodcuts are shown both as framed pictures on the wall, and bound as pages in five different books.
Atelier Nomade 2025
(last edited: 2025)
author(s): Pure Print Archeology
This exposition is in progress and its share status is: visible to all.
Atelier Nomade 2025 follows the program presented in 2024, organized by Pure Print Archeology around the use practice of lithography outside of the printmaking workshop and in critical context with the city of Porto.
Pedra Papel Guerra
(last edited: 2025)
author(s): Pure Print Archeology
This exposition is in progress and its share status is: visible to all.
"Papel Papel Guerra — Arqueologia da Litografia em Portugal" é uma exposição organizada pela Faculdade de Belas Artes e pela Reitoria da Universidade do Porto, uma iniciativa do grupo de interesse Pure Print Archeology (i2ADS/FBAUP). A exposição articula projetos de arte contemporânea e investigação em arte e tem como foco, as origens da litografia em contexto português.
(1) Aplicação da litografia para a cartografia militar.
(2) As primeiras Oficinas Litográficas da cidade do Porto;
(3) A pedra litográfica portuguesa;
(4) Projetos de arte contemporânea na relação com Cartografia, História e a Guerra.
Linoleum bitmap experiment- ''A lousy Day''
(last edited: 2025)
author(s): MARTEN PREI
This exposition is in progress and its share status is: visible to all.
A lousy day is a colorful experiment seeking to translate a digitally constructed photo collage into the material world through a traditional printmaking technique. The project's aim is to see how a step-by-step process, through manual labor, with all its human errors and monotonous replication can slightly alter the visible properties of a previously digital image. As if some tiny mistakes were analogue glitches added to an otherwise virtual visual abstraction. The image of the print itself is built up in the CMYK color channel system which has been separated into four different bitmap layers. Each segmented and cut into linoleum plates, later printed together. Resulting in a second observation of how well a low resolution mass of pixels could be brought to the naturally observable world, yet staying with its comparatively cold and calculated precision. A bridge between technological and physical practices.
Pure Print Archeology
(last edited: 2023)
author(s): Gravura: I2ADS/FBAUP
connected to: i2ADS - Research Institute in Art, Design and Society
This exposition is in progress and its share status is: visible to all.
Pure Print archaeology (PPA) 1st research meeting aims to reflect on photomechanical printmaking practice and its research status.
THINKING IN LAYERS, WORLDING IN LAYERS: POSTHUMAN LANDSCAPES IN EXTENDED DRAWINGS AND PRINTS
(last edited: 2020)
author(s): Britta Benno
This exposition is in progress and its share status is: visible to all.
I am using the printmaking and drawing artist way of thinking as a method of creating artistic research. Thinking in layers becomes a way of creating both: the artefacts and writing. The emphasis of the artistic research is divided in two extending and overlapping categories: first, conceptually worlding the post-capitalist landscapes – this becomes the study-case of the second and most imporant focus: the innovation of formal indermedial method when creating hybrid art.
A Carnal Formula: Music, painting and the creative process
(last edited: 2018)
author(s): Matthew Noone
This exposition is in progress and its share status is: visible to all.
How do a painter and a musician make work together? What elements of creative process are shared between music and the visual arts? And perhaps more interestingly, what are the divergences?
This exposition focuses on an artistic residency in the Burren College of Art as a case study exploring theoretical frameworks for making and perceiving music and sound. It uses my own creative process moving between composing and print making as a dialogue between different forms of perception. Drawing upon phenomenology and deconstructionism, this exposition argues that aesthetic responses are paradoxical, in that both painting and music can touch a pre-cognitive body based knowing yet at the same time there is no absolute meaning. This conundrum is equated with Merleau-Ponty’s idea of a ‘carnal formula’ and I attempt to extrapolate this idea through outlining my creative processes.
