Block printing
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The document provides instructions for creating block prints through a process of sketching compositions, carving a linoleum block, inking the block, and printing. It discusses considerations for composition such as use of space, rule of thirds, texture, balance of light and dark, and contrast. The reader is then instructed to create 13 prints exploring different color schemes such as primary/secondary/tertiary colors, warm/cool colors, analogous/complimentary colors, and more. Printing techniques including printing maximum two colors at a time and hand-coloring additional colors are also outlined.
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Textile printing
Direct printing is the most common method of applying color patterns to fabric. It involves applying dye directly to the fabric in paste form using block printing, screen printing, or roller printing. Discharge printing applies color to the entire fabric first and then removes color in certain areas to create a pattern. Resist printing involves applying a paste that resists dye to the fabric before dyeing it, so the pattern areas are not colored.
hand screen printing
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Printing
Printing techniques were summarized including:
1. Printing involves applying dyes or pigments locally to fabrics to create designs through techniques like screen printing and block printing.
2. Screen printing uses a mesh screen to block ink from transferring in some areas to create sharp-edged images, while block printing carves designs into wooden blocks.
3. Other techniques include discharge printing which dyes the whole fabric and then removes dye in a pattern, and resist printing which applies a dye-repelling substance before dyeing.
Lecture 8 digital printing of textiles
The document discusses digital printing of textiles compared to analog printing methods. Digital printing involves storing the design electronically and using an inkjet printer to apply the design to fabric without screens or plates. It has advantages over analog methods like quicker turnaround times, lower costs for short runs, and more design flexibility. The two main inkjet technologies discussed are continuous inkjet which uses electrically-charged droplets, and drop-on-demand inkjet which forms droplets only as needed using thermal or piezoelectric methods.
Element of design texture
This document discusses the element of texture in art. It defines texture as the surface quality of an object, whether actual/tactile texture that can be touched, or visual/simulated texture created through techniques like shading. Texture can describe qualities like soft, hard, bumpy, etc. The document provides examples of how artists use texture through materials, carving, and visual illusion. It concludes with an assignment asking students to create texture rubbings and use them to make textured animal pictures.
textile design
The document traces the evolution of textiles from prehistoric times to the present day. It discusses how early humans used mammoth skins sewn together for clothing in 26,000 BC. In ancient Egypt in 5500 BC, evidence exists for the production of linen cloth. In China between 500-300 BC, silk production began and was used to create Hanfu tunics. During the Roman period from 27 BC to AD 476, linen weaving techniques improved and typical garments included the peplos robe. During the Middle Ages from 1200-1400 AD, wool became commonly used and weaving techniques advanced.
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Screenprinting involves pushing ink through a screen to transfer an image onto paper. There are different screenprinting methods, including using cut stencils, painted stencils, or photo emulsion techniques. With cut stencils, the image is cut from material like paper or film and attached to the screen. Painted stencils involve painting filler on the screen in the negative areas. Photo emulsion uses light-sensitive emulsion applied to the screen that is then exposed to create the stencil. Screenprinting has been used throughout history for propaganda posters and in the modern art world by artists like Andy Warhol and Shepard Fairey.
prepration of fabric
The document discusses the steps involved in preparing fabric for printing, including singeing, desizing, scouring, bleaching, and mercerization. It then explains several chemicals and agents used in the printing process, such as wetting agents, hygroscopic agents, dispersing agents, oxidizing agents, reducing agents, and discharging agents. Wetting agents lower surface tension to help liquids spread evenly. Hygroscopic agents help fabrics absorb moisture. Dispersing agents prevent dye aggregation. Oxidizing agents develop color. Reducing agents are used in processes like vatting and discharge printing.
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Textile printing
Direct printing is the most common method of applying color patterns to fabric. It involves applying dye directly to the fabric in paste form using block printing, screen printing, or roller printing. Discharge printing applies color to the entire fabric first and then removes color in certain areas to create a pattern. Resist printing involves applying a paste that resists dye to the fabric before dyeing it, so the pattern areas are not colored.
hand screen printing
https://www.facebook.com/Unique-Art-Design-579862229043274/?modal=admin_todo_tour
https://www.youtube.com/channel/UCmi8gBH7l5BMxU4wVlu37Ug?view_as=subscriber
Printing
Printing techniques were summarized including:
1. Printing involves applying dyes or pigments locally to fabrics to create designs through techniques like screen printing and block printing.
2. Screen printing uses a mesh screen to block ink from transferring in some areas to create sharp-edged images, while block printing carves designs into wooden blocks.
3. Other techniques include discharge printing which dyes the whole fabric and then removes dye in a pattern, and resist printing which applies a dye-repelling substance before dyeing.
Lecture 8 digital printing of textiles
The document discusses digital printing of textiles compared to analog printing methods. Digital printing involves storing the design electronically and using an inkjet printer to apply the design to fabric without screens or plates. It has advantages over analog methods like quicker turnaround times, lower costs for short runs, and more design flexibility. The two main inkjet technologies discussed are continuous inkjet which uses electrically-charged droplets, and drop-on-demand inkjet which forms droplets only as needed using thermal or piezoelectric methods.
Element of design texture
This document discusses the element of texture in art. It defines texture as the surface quality of an object, whether actual/tactile texture that can be touched, or visual/simulated texture created through techniques like shading. Texture can describe qualities like soft, hard, bumpy, etc. The document provides examples of how artists use texture through materials, carving, and visual illusion. It concludes with an assignment asking students to create texture rubbings and use them to make textured animal pictures.
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The document traces the evolution of textiles from prehistoric times to the present day. It discusses how early humans used mammoth skins sewn together for clothing in 26,000 BC. In ancient Egypt in 5500 BC, evidence exists for the production of linen cloth. In China between 500-300 BC, silk production began and was used to create Hanfu tunics. During the Roman period from 27 BC to AD 476, linen weaving techniques improved and typical garments included the peplos robe. During the Middle Ages from 1200-1400 AD, wool became commonly used and weaving techniques advanced.
Intro to Screenprinting
Screenprinting involves pushing ink through a screen to transfer an image onto paper. There are different screenprinting methods, including using cut stencils, painted stencils, or photo emulsion techniques. With cut stencils, the image is cut from material like paper or film and attached to the screen. Painted stencils involve painting filler on the screen in the negative areas. Photo emulsion uses light-sensitive emulsion applied to the screen that is then exposed to create the stencil. Screenprinting has been used throughout history for propaganda posters and in the modern art world by artists like Andy Warhol and Shepard Fairey.
prepration of fabric
The document discusses the steps involved in preparing fabric for printing, including singeing, desizing, scouring, bleaching, and mercerization. It then explains several chemicals and agents used in the printing process, such as wetting agents, hygroscopic agents, dispersing agents, oxidizing agents, reducing agents, and discharging agents. Wetting agents lower surface tension to help liquids spread evenly. Hygroscopic agents help fabrics absorb moisture. Dispersing agents prevent dye aggregation. Oxidizing agents develop color. Reducing agents are used in processes like vatting and discharge printing.
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Pattern is the repetition of a design motif that humans find visually interesting. It provides order and variety, and can be intricate or simple. Texture differs from pattern in that it is more irregular and gives the impression of a surface quality, shown through areas of light and dark. Both pattern and texture are important artistic elements for creating visual interest and illusion through techniques like impasto painting, collage using found materials, and trompe l'oeil which aims to fool the eye into thinking a two-dimensional image is three-dimensional.
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The document discusses resist printing techniques, specifically focusing on batik printing. It provides background on batik, noting it originated in Egypt and was later practiced in other parts of Asia and Africa. The document describes the batik printing process, which involves applying wax resist to fabric before dyeing to create patterns. Different regions known for batik printing are highlighted, as well as the raw materials and techniques used. A brief overview of tie-dye printing is also provided.
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Traditional block printing techniques are used across India with regional variations. The document outlines the printing processes which involve preparing blocks, fabric, and printing pastes as well as auxiliary components like thickeners, dyes, and resists. Specific techniques are described for regions like Sanganer with floral designs, Bagru with resist patterns, Andhra Pradesh known for vegetable dyes, and Uttar Pradesh featuring motifs like paisley and butis in classical styles.
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The document provides information about discharge printing, which is a textile printing process where a bleaching agent is printed onto previously dyed fabrics to remove some or all of the original color. It discusses how discharge printing works, the required fabrics, discharge agents used, importance of discharge styles, discharge screen printing process, positives and negatives of discharge screen printing, and how cotton and polyester fabrics give different results. The document contains detailed technical explanations and considerations for discharge printing.
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Block printing is a traditional method of printing patterns on fabric using carved wooden blocks. It is a slow process but can produce highly artistic results. Different regions in Rajasthan, India are known for specific block printing styles that use distinctive techniques, motifs, and natural dyes. However, the craft is facing challenges of low production volumes, preservation of traditional designs, and pollution issues.
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Batik is a manual wax-resist dyeing technique used to make colorful patterns on fabric. The tradition of batik originated in Indonesia but has spread to many other parts of Asia and Africa. Batik designs typically feature natural motifs and symbols from folklore. Over time, artists have developed different regional styles of batik using distinctive colors and patterns. The traditional batik process involves using melted wax and specialized tools to apply wax designs, then dyeing the fabric and removing the wax to reveal the unique patterns. Modern techniques now also use carved printing blocks to more efficiently produce intricate batik designs at scale. Batik is used for clothing, home decor, and is also an artistic medium in paintings.
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1. Textile printing involves applying colored patterns and designs to fabric using thickened print pastes containing dyes or pigments.
2. There are several styles of printing including direct, discharge, and resist printing. Direct printing applies color directly to fabric while discharge and resist involve removing or preventing color fixation in certain areas.
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Vigilant control of dyeing conditions like temperature, time, chemical concentrations, and material-to-liquor ratios is needed to ensure an even shade. Potential dyeing defects include uneven or cloudy dyeing, barrenness, shade variation between rolls, dye patches, softener marks, tone variation, crease and rope marks, poor light and rub fastness, fabric damage, shade bars, dye stains, and colour crocking where dye rubs off onto other fabrics. Printing defects can arise from thread distortions, misprints, unevenness, blurred patches, water marks, misregistration, small unprinted circles, and bleeding of printed areas.
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The document discusses various types and styles of printing fabrics. It describes three main approaches to printing color on fabric: direct printing, discharge printing, and resist printing. It then provides details on different printing techniques like block printing, roller printing, screen printing, and others; explaining their process, advantages, and disadvantages. The document also covers various pattern styles used in printing like stripes, checks, dots, geometrical prints, and others.
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This document discusses different color schemes including monochromatic, analogous, complementary, split complements, and color triads. It provides descriptions of each scheme, noting things like monochromatic uses one color, analogous uses neighboring colors on the color wheel, complementary uses opposite colors for contrast, split complements add two neighbors of the complement, and triads use three equally spaced colors which can be difficult to balance. Warm and cool colors are also mentioned, with examples like sunshine being warm and ice/water being cool. The document ends with activities involving designing initials or names and coloring them using one of the color schemes.
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Traditional block printing techniques are used across India with regional variations. The document outlines the printing processes which involve preparing blocks, fabric, and printing pastes as well as auxiliary components like thickeners, dyes, and resists. Specific techniques are described for regions like Sanganer with floral designs, Bagru with resist patterns, Andhra Pradesh known for vegetable dyes, and Uttar Pradesh featuring motifs like paisley and butis in classical styles.
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This document provides an overview of techniques for painting with soft pastels. It begins by listing the basic supplies needed, including different types of pastel sticks and supports. It then discusses various techniques such as using different grips and strokes, layering color, blending, and correcting mistakes. The document also covers principles of color theory and creating harmonious color schemes. Three artists then demonstrate their methods for landscapes, still lifes, animals and portraits in soft pastel. Readers are guided through the entire painting process from initial sketches to finishing details.
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Block printing is a traditional method of printing patterns on fabric using carved wooden blocks. It is a slow process but can produce highly artistic results. Different regions in Rajasthan, India are known for specific block printing styles that use distinctive techniques, motifs, and natural dyes. However, the craft is facing challenges of low production volumes, preservation of traditional designs, and pollution issues.
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From this presentation you understand how many types of washing techniques used in current scenario by textile industries or fashion industries
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1. Textile printing involves applying colored patterns and designs to fabric using thickened print pastes containing dyes or pigments.
2. There are several styles of printing including direct, discharge, and resist printing. Direct printing applies color directly to fabric while discharge and resist involve removing or preventing color fixation in certain areas.
3. The printing process typically involves color paste preparation, printing the fabric, fixation with steam or heat, and after-treatment including washing. Alternative techniques to printing include embroidery, knitting with colored yarns, and applique.
How dyeing & printing defects spoil your garment?
Vigilant control of dyeing conditions like temperature, time, chemical concentrations, and material-to-liquor ratios is needed to ensure an even shade. Potential dyeing defects include uneven or cloudy dyeing, barrenness, shade variation between rolls, dye patches, softener marks, tone variation, crease and rope marks, poor light and rub fastness, fabric damage, shade bars, dye stains, and colour crocking where dye rubs off onto other fabrics. Printing defects can arise from thread distortions, misprints, unevenness, blurred patches, water marks, misregistration, small unprinted circles, and bleeding of printed areas.
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cad, computerized marker making is a popular system to make the marker.we can also use a manual marker making system. its a part of apparel manufacture.
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This document provides an overview of color theory and the use of color in art. It discusses the color wheel and the primary, secondary, and tertiary colors. It explains the concepts of warm and cool colors, complementary colors, and analogous colors. It also covers color mixing, the elements of art including line, shape, value, texture, volume, and the principles of art such as balance, contrast, proportion, pattern, rhythm, emphasis, unity, and variety. Examples are given to illustrate these concepts and students are prompted to analyze paintings using this terminology.
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Creative Industry Lecture 2 a b color form and space
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Memory project caea conference
The Memory Project is a nonprofit organization that invites art teachers and students to create portraits for underprivileged youth around the world who have faced challenges. Since 2004, over 110,000 portraits have been created for children in 45 countries. The document provides information about the portrait creation process, how schools can get involved, funding, benefits of participation, and examples of portrait mediums created by students in the past like pencil, watercolor, collage, colored pencil, and marker. It also lists some of the countries where portraits have been created for children.
2 point perspective
Two-point perspective is a technique in drawing where objects appear to recede into the distance on either side of the picture plane. This creates the illusion of depth and distance on a flat surface. It is distinguished from one-point perspective by having two vanishing points located on opposite sides of the picture plane rather than just one.
One point perspective
This document discusses one-point perspective in Renaissance art. It explains that during the Renaissance, artists became interested in making two-dimensional artwork appear three-dimensional. Artists used mathematics and close observation to develop linear perspective techniques. One-point perspective involves drawing orthogonal lines that converge at a single vanishing point, making distant objects appear smaller to create the illusion of depth on a flat surface. The document provides instructions for how to draw a simple one-point perspective scene using a horizon line and vanishing point.
Space power point
Space exists between, around, and within all objects. There are two types of space: positive space, which are the shapes or forms of interest, and negative space, which is the empty area around objects. Shapes are defined by the negative space surrounding them, and understanding the relationship between objects and space is important for defining forms. Artists can manipulate space to create the illusion of depth on a two-dimensional surface.
Composition power point
Composition is the arrangement of elements in a work of art. There are several composition strategies an artist can use, including leading lines to guide the eye, framing to direct attention to a subject, and the rule of thirds for balancing elements. When composing a piece, an artist should consider principles such as balance, focus, movement, contrast, pattern, proportion, and unity.
Line animals
This document discusses using line to create value and depict form. It introduces six line techniques to convey value: straight lines, crossing lines, scribbled lines, zig zag lines, and two invented techniques. Readers are instructed to use a variety of these line techniques to draw part of a photo, focusing on accurate shapes, proportions, values, details, and craftsmanship. A pencil sketch should be followed by use of markers to add tonal variety through line thickness.
Elements of art 2015
Line, value, shape, form, space, color, and texture are elements of art. Line is a mark with greater length than width that can be horizontal, vertical, diagonal, straight, curved, thick, or thin. Value refers to the lightness or darkness of a surface. Shape is a closed line that can be geometric or organic. Forms are three-dimensional shapes that express length, width, and depth. Space is the area between and around objects, and can refer to both physical and optical depth. Color has characteristics of hue, value, and intensity, and is created through mixing primary, secondary, and intermediate colors. Texture is the surface quality that can be seen and felt.
Weir farm powerpoint
A PowerPoint presentation about Weir Farm National Historic Site, including historical information, photos, and artwork
Chapter 29 take home test images
The chapter test images were being prepared for Chapter 29. Photos were selected that aligned with the key concepts in the chapter, including photos that depicted protein synthesis and cell signaling pathways. Caption were written and attached to each image to reinforce the important ideas and processes shown in the visuals.
18th Century Art in Europe and the Americas
This document provides an overview of art in Europe and the Americas during the 18th century. It describes the major artistic styles of the period, including Rococo, Neoclassicism, and the beginning of Romanticism. It discusses Rococo architecture and painting, noting characteristics like asymmetry, ornate decoration, and themes of aristocratic leisure. Neoclassicism is described as a more democratic style inspired by antiquity, evident in architecture like Monticello that featured symmetrical designs with columns and pediments. Major artists like Tiepolo, Vigée-Lebrun, Reynolds, and Gainsborough are also mentioned.
The International Scene Since 1945
Artists since 1945 have commented on social and political issues through their work, addressing problems like racism and weapons of mass destruction. There was great experimentation across media as new technologies emerged. Abstract Expressionism became a prominent American movement, with Pollock's drip paintings and Rothko's color field paintings reflecting the existential mood of the time. Pop Art emerged in the 1960s, drawing from popular culture with works by Warhol and Lichtenstein depicting celebrity and commercial images. Minimalism also gained popularity, emphasizing simple geometric forms and industrial materials.
Modern Art in Europe and the Americas 1900-1945
This document provides an overview of major art movements in Europe and the Americas from 1900-1945. It discusses Fauvism, Expressionism, Cubism, Futurism, Dada, De Stijl, Surrealism, and Art Deco. Key aspects covered include the optimism of the time period despite political and social upheaval, influential artists and patrons, and characteristics of each movement such as their use of color, form, and abstraction. Major works are cited from artists like Matisse, Picasso, Kandinsky, and others to illustrate styles and techniques.
19th Century Art in Europe and the US: Part 2
The document provides an overview of major art movements and developments in Europe and the United States during the 19th century, including Realism, Impressionism, and Post-Impressionism. It discusses key artists such as Courbet, Millet, Daumier, Manet, Homer, Bonheur, Eakins, and Tanner. Their works depicted ordinary subjects with accuracy and objectivity, rejected traditional styles and subject matter, and responded to industrialization and social changes of the time. New techniques like lithography and plein air painting also emerged. The document examines how these artists captured the spirit of their era through paintings of peasants, landscapes, still lifes, and scenes of modern life.
19th Century Art in Europe and the US: PART 1
Romanticism was a dominant movement in 19th century art in Europe and the United States. It focused on emotion, imagination, and individuality over rational thought. Key Romantic artists included Goya, Gericault, and Delacroix who depicted dramatic subjects and political themes. Romantic architecture revived past styles like Gothic and incorporated new technologies like iron. The development of photography also influenced painting during this period.
Baroque Art
This document provides an overview of Baroque art and architecture from 1600-1700 in Europe. It begins with definitions of Baroque and its key differences from Renaissance styles. The summary then discusses the main characteristics and developments of Baroque in Italy, France, and England. For Italy, works by Bernini such as St. Peter's colonnade and Borromini's San Carlo alle Quattro Fontane are analyzed. Versailles palace is covered for France. Key English works mentioned include St. Paul's Cathedral and Blenheim Palace. Sculptors like Bernini and painters including Caravaggio and Rubens are also discussed.
Late northern Renaissance 16th century
The document provides an overview of 16th century art in Northern Europe and the Iberian Peninsula during the Late Renaissance period from 1500-1600. It summarizes that the Protestant Reformation led to iconoclasm and the destruction of religious artwork. Artists had to find new ways to depict religious figures without appearing idolatrous. Northern European artists were influenced by the Italian Renaissance but developed their own traditions, such as a focus on detailed realism and landscape paintings. Examples discussed include Albrecht Durer's fusion of Northern realism with Italian monumentality, and significant architectural works like The Escorial in Spain and the Louvre in France that blended Italian and local styles.
16th century italian renaissance
The document discusses the history of chocolate, describing how it originated from cacao beans grown by the Olmecs and Mayans in Mexico and Central America. It then explains how Spanish conquistadors brought cacao beans back to Europe in the 16th century and how chocolate became popularized as a drink among European nobility before eventually becoming widely consumed around the world today.
Italian Renaissance by Kavita
During the 15th century Italian Renaissance, culture flourished in Italian city-states like Florence, Ferrara, and Venice. Artists developed techniques like linear perspective and proportion in painting to create more realistic depictions. Important architectural innovations included Filippo Brunelleschi's dome for Florence Cathedral, which used inner and outer domes for stability without wooden supports. Renaissance buildings featured open plans, symmetry, and classical influences to emphasize harmony.
Italian Renaissance by Kavita
During the 15th century Italian Renaissance, major developments occurred in the arts and culture of Italian city-states. Artists studied classical styles and humanist ideals, developing techniques like linear perspective to create highly realistic paintings and sculptures. Wealthy ruling families commissioned large works that featured the nude human form and explored pagan themes. Architects like Brunelleschi and Alberti designed buildings using principles of proportion, symmetry, and light-filled interior spaces.
Italian renaissance 15th century
The document provides an overview of developments in Italian Renaissance art and architecture during the 15th century. It discusses how art was influenced by classical styles and humanism, with an emphasis on realistic perspective in paintings and nude figures. Important architects like Brunelleschi and Alberti designed buildings using mathematics, symmetry, and light-filled spaces. Painters like Masaccio and del Castagno created frescoes applying linear perspective and individualized figures.
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二.真实使馆公证(即留学回国人员证明,不成功不收费)
三.真实教育部学历学位认证（教育部存档！教育部留服网站永久可查）
四.办理各国各大学文凭(一对一专业服务,可全程监控跟踪进度)
如果您处于以下几种情况：
◇在校期间，因各种原因未能顺利毕业……拿不到官方毕业证【q/微741003700】
◇面对父母的压力，希望尽快拿到；
◇不清楚认证流程以及材料该如何准备；
◇回国时间很长，忘记办理；
◇回国马上就要找工作，办给用人单位看；
◇企事业单位必须要求办理的
◇需要报考公务员、购买免税车、落转户口
◇申请留学生创业基金
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
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哪里购买(ucr毕业证书)美国加州大学河滨分校毕业证研究生文凭证书原版一模一样
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【业务选择办理准则】
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二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【微信bwp0011】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
【关于价格问题（保证一手价格）】
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
Dpboss Matka Guessing Satta Matta Matka Kalyan Chart Indian Matka
Dpboss Matka Guessing Satta Matta Matka Kalyan Chart Indian Matka➒➌➎➏➑➐➋➑➐➐Dpboss Matka Guessing Satta Matka Kalyan Chart Indian Matka
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Full CAD Project Cardiovascuwhore Debut PDF CAD Meena Pittman
Full CAD Project Cardiovascuwhore Debut PDF CAD Meena Pittman
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Block printing
- 2. Step 1: Obtain reference/inspiration material Step 2: Create three sketches (same size as the final print) with different ideas for your composition. Remember that your sketch will be mirror-image when printed. Step 3: Pick your favorite composition from your three sketches. Step 4: Draw your composition on your linoleum block. Step 5: Carve your composition into your linoleum block. Step 6: Ink the linoleum block and create a test print. If there are flaws, correct them and print again until you get your print the way you like it.
- 3. How do I make the best composition? Consider how you use your space Consider rule of thirds Consider texture, pattern, and decorative accents Create a balance between dark and light (carved and uncarved places) Consider a contrast between solid areas and thin lines/details Consider straying from realism
- 7. But what about color?
- 9. You will create the following 13 prints: • A series of 3 black and white prints • A primary colors print • A secondary colors print • A print that uses black and white plus one tertiary color • A print with cool colors • A print with warm colors • A print with analogous colors • A print that uses black and white plus one neutral • A print that uses complimentary colors • A print that uses three values of one color (dark, medium, and light) • A print with a color scheme of your choice
- 13. • You can print a MAXIMUM of TWO colors at a time (the color of the paper, and the color of the ink). • Any additional colors will be hand- colored after the print has dried. • You are welcome to print on white paper only and then add all additional colors by hand. • The combinations are endless!!! • Consider moving around the room to find colors in use so you can mooch off of each other (aka: be efficient).
- 17. RULE OF THIRDS!
- 27. HOW TO LABEL YOUR PRINTS LIKE A PRO Print # Title Signature and year
- 28. HOW TO LABEL YOUR PRINTS LIKE A PRO 1/13 “Penguin Love” Smith ‘15
- 29. Color is light reflected off of objects. Color has three main characteristics: • hue (the name of the color, such as red, green, blue, etc.) • value (how light or dark it is) • intensity (how bright or dull it is)
- 31. This is all green! (all VALUES of green)
- 33. • White is pure light. Black is the absence of light. • Primary colors are the only true colors (red, blue, and yellow). All other colors are mixes of primary colors.
- 34. • Secondary colors are two primary colors mixed together Orange, Green, and Violet
- 35. • Tertiary colors, are made by mixing a primary and secondary color together. *Notice the primary color is always named first (red- orange, not orange-red)
- 36. • Complementary colors are located directly across from each other on the color wheel. •They contrast because they share no common colors •When they are mixed together, they neutralize each other to make brown or gray.
- 37. Analogous colors are next to each other on the color wheel
- 38. Which color scheme is ANALOGOUS and which is COMPLIMENTARY?