Journal

A warm welcome to the second issue of the journal

First of all, a sincere wish that this note finds you all safe and well, and that you remain connected to families and friends.

Pandemic-related issues have affected all of our lives since February, and Covid 19 has precipitated a rush of new experiences and emotions: anxiety for the present and the future, yet appreciation for small moments of joy. Our International print community has had to postpone eagerly anticipated gatherings: such as SGCI in Puerto Rico, the IMPACT Printmaking Conference in Hong Kong and the International Mokuhanga Conference in Nara. They will go ahead in the next year or two, and will be all the sweeter for restoring our sense of community and exchange.

Moreover, many printmakers have adapted rapidly to video conferencing and, for better or worse, the joys of online teaching. Having direct access to artists and speakers has been a powerful experience, despite the glitchy beaming of proxy faces and voices from each other’s homes. Now we can attend meetings in different time zones in pajama-clad comfort, if we wish. We can shun three-hour commutes, and steal extra time for sleeping. I’ve enjoyed my virtual travels to Indiana, Alabama, Liège and Leeds over the past few months, and can’t wait to visit for real in the future.

The research and articles in this issue happened because of the hard work of authors and reviewers alike. They touch on a wide range of printmaking techniques: from lockdown-friendly low-fi approaches, through observations of how nature has created reflective strategies for irridescence, all the way to advanced research on how printmaking can be used to create incredibly beautiful photoluminescent glass.

In this issue we are lucky to read about research which illuminates printmaking history in new ways: how soft-ground transfer papers might have been used and mis-categorized; and how the introduction of letterpress to New Zealand played a role in preserving Māori language.

Last, but not least, we have some writing which gives us a privileged insight into artists’ working practices: in the form of self-reflection, through detailed description of portraiture, and through two artists having warm conversation.

It is increasingly clear to me how essential the arts are to a sense of wonder in the world. For those who would like to connect with us at the Centre for Fine Print Research, please have a look at the website, where we have archives of talks and presentations, and perhaps consider joining one of our conferences, such as the Touch Symposium which will be running on 9–10 December. Or send me an email at wuon-gean.ho@uwe.ac.uk

It would be lovely to hear from you! I hope you remain healthy, and that we meet soon.

Wuon-Gean Ho, Editor.
London 26 November 2020

INDEX ISSUE TWO

Alan Te Morenga Litchfield and Karol Wilczynska
Lighting the way: The establishment of the first printed works in Te Reo Māori

Ana Rocha, Graciela Machado, Teresa Almeida, César A. T. Laia and Andreia Ruivo
Light-Emitting Prints on Glass

Anne Heyvaert and Sylvie Karier
From lines to dots and beyond

Damien Leech
Bioinspiration In Printmaking

David Lopes and Graciela Machado
The Collateral Transfers of Soft-Ground Etching

Edward Turpie
Gestural drawing for serigraphy

Michelle Keegan
I can still hear you

Shefali Wardell
Spaghetti Intaglio

Reviewers Issue Two

Angie Butler
Bess Frimodig
Camilla Murgia
Carinna Parraman
Clare Humphries
Deborah Cornell
Endi Poskovic
Justin Diggle
Laura Morgan
Monika Lukowska
Niamh Fahy
Paul Coldwell
Paul Uhlmann
Ruth Pelzer-Montada
Sean Caulfield
Soraya Vasconcelos
Tracy Templeton
Wuon-Gean Ho

Hello and welcome to the first issue of the IMPACT Printmaking Journal!

When Carinna Parraman, chair of IMPACT, first conceived of this journal, the word Covid had not yet been invented. Now I am writing to you from a sunny London living room, on behalf of the Centre for Fine Print Research which is based in the University of the West of England, Bristol, UK. Despite our practical distance, printmakers and academics can bring images, points of views, techniques and ideas together in this virtual platform. Indeed, the experience of isolation gives us the gift of time for reading, reflection, and detailed work. We should think of ourselves as temporarily marooned.

Print is a compelling way of thinking and making. Beyond the factors that are often celebrated in print – the indexical transference of ink onto paper, multiplication and repetition, social commentary, ease of availability – print has often been defined by its partnership with technology. In terms of technology, we at the Centre for Fine Print Research are greatly interested in the harnessing of technology to aid and adapt what can be done.

Indeed, the very first scientific journal in the UK, Philosophical Transactions[1], used print technology in London over 350 years ago in 1665. This journal pioneered open conversation, allowing a wide audience to read and debate new ideas. Inspired by this, IMPACT Printmaking Journal is also an open access journal, which means it is online and free to read. Also, like the earliest scientific journals, we have also adopted a peer review system to ensure a certain quality of work.

For those who are not familiar with the peer review system: this is where each article has been scrutinized by two academics or artists at the forefront of their field. Their comments and suggestions were at times extensive, provocative and enlightening, and brought a sense of context and guidance to the authors. I must thank all the peer reviewers who gave so generously to this first issue, and to all the authors who were very patient with multiple requests to rethink and modify their work. Through the process, new ideas and connections are made, so I hope that the authors gained as much out of the process as the readers of each issue will.

This journal aims to be a platform for discussion between artists, printmakers, writers, collectors and academics. In this first issue we have a range of topics: including commentary on histories; landscape; politics, present and past; our place in the wider world; family heritage; and narratives of identity. The journal has the potential to evolve and classify the practice of printmaking. Most of all, there is a centering on the intimate knowledge of what it means to make.

A peer-reviewed journal is by nature a slow publication, but I hope that through reading, writing and exchange, the journal can generate a sense of community and conversation, despite our geographical distances. I welcome comments and feedback, and encourage you to continue to send writing in for consideration for the next issue. Most of all, I look forward to meeting some of you in the future, whether it be in the virtual realm, or in person, perhaps at one of the wonderful print conferences such as the IMPACT Print conference in Hong Kong (proposed for the Autumn), and the postponed SGCI in Puerto Rico.


With warm wishes for your continued health,
Wuon-Gean Ho
Editor

3 April 2020

Click here to go to the menu of the first issue

INDEX ISSUE ONE

Adrienne Momi
Challenges of Printmaking in the Field: the case at Tĕšetice-Kyovice, Czech Republic

Arthur Buxton
Posters from Paddington Printshop by John Phillips

Ben Thomas
Paul Coldwell, Picturing the Invisible

Brian Cohen
Etching and Rewards of Uncertainty  

Caroline Areskog Jones
En utpost mot havet. An outpost against the sea

Catriona Leahy
RE:PRINT/RE:Present  Edited by Veronique Chance and Duncan Ganley

Deborah Cornell
Dark Energy: Working at the Perimeter of Materiality

Jon Mayers
Etching, An Artists’ Guide, by Ann Norfield

Layli Rakhsha
Visualizing home in Australia

Lydia Trethewey and Susanna Castleden
Intensively fast and intensively slow: encountering movement and stillness through printmaking practices

Marian Crawford
Picturing the Island

Niamh Fahy
GESCHICHTE WIRD KUNST /IMPRINTING HISTORY Book review

Oran O’ Reilly
They Drifted Slowly to Eternity

Paul Coldwell
The making of Paula Rego’s ‘The Nursery Rhymes’

Phyllis Merriam
Grappling with Technology: thepostdigitalprintmaker

Rosane Viegas
Printmaking using an Orange Juice Carton as a Matrix

Serena Smith
Ekphrasis

Stephen Clarke
A Leap Forward at Toad Hall: David Ferry’s Seasonal Veteran and Vintage Cars in Colour

Susanne Klein, Walter Guy, Damien Leech, Josie Argyle
Woodburytype: A historical process resurrected by modern methods

Zoe Tissandier
I Went to Bed and Woke Up in Another Century

Reviewers Issue One

Bess Frimodig
Carinna Parraman
Carrie Edinger
Clare Humphries
John Phillips
Laura Morgan
Milos Djordevic
Monika Lukowska
Paul Coldwell
Ruth Pelzer Montada
Sarah Bodman
Wuon-Gean Ho