Thank you for your interest in helping us moderate questionable content on Lulu. If you need assistance with an order or the publishing process, please contact our support team directly. Below is the information that should be present in these notices. It is designed to make submitting notices of alleged infringement to us as straightforward as possible while reducing the number of notices that we receive that are fraudulent or difficult to understand or verify. Copyright Office website, http: To file a notice of infringement with us, you must provide us with the items specified below.
Please note that you will be liable for damages including costs and attorneys' fees if you materially misrepresent that the material is infringing your copyright. Accordingly, if you are not sure whether material infringes your copyright, we suggest that you first contact an attorney. This notice and any attachments we receive will be forwarded to the alleged infringer, who will then have the opportunity to file a counter notification pursuant to Sections g 2 and 3 of the DMCA.
Should a properly filed counter notification be filed, you will be notified and have 10 business days within which to file for a restraining order in Federal Court to prevent the reinstatement of the material. All required fields must be filled out for us to be able to process your form. We help people distribute information and art spanning a wide range of subject matter while providing a safe, friendly, respectful, and serious site for all content creators.
Since our community serves a broad range of ages, we do not encourage content that could make a majority of our users uncomfortable. If you are sure that this product is in violation of acceptable content as defined in the agreement or that it does not meet our guidelines for General Access, please fill out the form below.
It will then be reviewed by Lulu Staff to determine the next course of action. Identify in sufficient detail the copyrighted work that you believe has been infringed upon for example, "The copyrighted work at issue is the image that appears on http: Identify each web page that allegedly contains infringing material.
Some such as Mirnmirt , are translations of traditional sand drawings while other prints have more recent events as their subjects. Jarlujangka Wangki deals with irresponsible bomb-dropping exercises held in the desert during the Second World War. The non-traditional subject matter produces a corresponding change in imagery. Since Pike has also produced colour screenprints. Dennis Phillips Deeaggidditt was born in Leonora, four hundred kilometres north-east of Perth. His linocut The Blind Man tells one of the stories of his people, some of which have been passed on to him by his great grandfather.
Mervyn Street , another Aboriginal artist who has worked at Fremantle, has also recently begun making linocuts based on traditional stories. One of the few traditional Aboriginal artists to produce etchings is Martin Dougal , from the Broome area. Another innovative project being undertaken by the Western Australian Aboriginal artists is the illustration of the story The Girl who danced with Brolgas. Jackie McArthur, Dennis Phillips, Wilbur Porter and Jimmy Pike — all artists from different areas — have pooled their feelings about this particular story and their land and expressed them in a series of monotypes, which will be published shortly in book form.
While the world would rather think of Aboriginal artists as frozen in the pre-Cook era, contemporary black artists confront the conscience of the global public with images of our modern reality … this provides the black artists with their subject matter, and, often their means. But the distinction between traditional and Koori art is not hard and fast; for instance Banduk Marika , whose traditional prints have already been discussed, lives in Sydney.
It is not always easy for Koori artists, much criticism coming from within Aboriginal society. Some are criticised for not being the rightful owners of the images they use and are sometimes regarded as little more than fashionable image scavengers. It also shows his use of often familiar Aboriginal motifs from different tribal areas. I am trying to blend them because it works for me. I am hunting for lost pieces of myself. The Koori art movement is strongest in Sydney. She has frequently produced etchings that have been printed in a monotype manner. Sea Shells on the Sea Shore is typical, with the realistically depicted shells floating over a nebulous background of sand, sea, spray and stars.
In Foley travelled to Aboriginal communities at Bathurst Island and Raminginging in Arnhem Land, where she developed a few drawings which she would later use for etchings. The political poster has been the main vehicle for overt political statements by Aboriginal printmakers.
L. Dwight Lewis
In this respect they take over the work begun by the Earthworks Poster Collective and others who produced posters demanding Aboriginal Rights in the s, some of whom are still active in this field. More recently she has been working on a mural at The Settlement in Chippendale, an inner Sydney suburb. Community-based screenprinting workshops and projects have given many artists the opportunity to produce posters.
She was able to continue her work in when the workshop received grants from the Aboriginal Arts Board. She has worked closely with the local Koori community, printing t-shirts, calendars, jigsaw puzzles and posters.
IMPRINT Magazine | Flashback
This theme of loss is also evident in the work of Byron Pickett. Research for his prints took Pickett to Adelaide, Port Augusta and the Flinders Ranges where he studied photographs and books and talked to many Aborigines. His colour screenprints often combine photographic imagery with text. Family painfully describes the dilemma of many Aboriginals. In all these political posters the recurring theme is the loss of, and the need to protect, Aboriginal land.
This is not surprising considering how little has been achieved since the Land Rights proposal of Compared to the number of Aboriginal artists producing paintings on bark or canvas, there are only a few who have so far worked as printmakers. However, the very nature of printmaking — its ability to replicate an image — has enabled these few to reach a wide audience. Prints using traditional images, those produced by Koori artists, and political posters, will all contribute to the increasing self-determination of the Aboriginal people.
Nickolls is a Koori artist presently living in Sydney. Tiwi Designs , Sydney, Hogarth Galleries, It might also be noted that the best known American Indian artist Fritz Scholder began making prints in Prints , Montreal, Signum Press. Hand printed stone lithograph. Johnny applied gum acacia to areas designated white first. He then applied oleified bitumen in areas designated black. Finally a tone was created by air brushing the bitumen into areas traditionally reserved for areas of tone such as yellow ochre. An edition of fifty was printed onto Fabriano No.
An additional five proofs were pulled on bleached bullrush paper, made by Gaynor Cardew especially for the project. In Dan Welden , a master printmaker from the USA, started experimenting with light sensitive photopolymer plates commonly found in the commercial printing industry. By exposing a plate in the sun, he found he could produce a high quality intaglio image that was a safer and simpler alternative to traditional etching. Sydney-based artist Susan Baran has keenly embraced this printmaking process and has been working with photopolymer plates for over a decade now.
She talked with Sandra Williams about her way of working with the plate. Susan, how would you describe your printmaking before you started using photopolymer plate?
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- Life's Introspections Vol VI: Sensual Etchings* by L. Dwight Lewis (Paperback) - Lulu!
- Life's Introspections Vol IV: A Faint Heart's Plea by L. Dwight Lewis (Paperback) - Lulu.
My printmaking experience was firstly with screenprinting using very toxic inks and solvents, then as an etcher using nitric acid, rosin aquatint and more solvents. I was satisfied with this way of working though concerned about the fumes I was being exposed to. How did photopolymer plates become a key element of your printmaking practice? I joined Warringah Printmakers Studio in looking for a place to print. It was a period in my life when my children were young and etching was proving to be too slow for my limited studio time.
This new technique appealed to me because I could make plates so quickly. Was the transition from traditional etching to making photopolymer plates difficult? I just loved the ease of the whole process and was really interested in learning how to work in a safer, less toxic way.
All that is needed to make the plate is a UV light source and water to wash out the exposed plate. Simple, quick and safe! No acids, rosin powders or bitumen grounds. Instead of working the plate I prepare a transparency. I photocopy objects, fabrics, drawings and photographs to create a collage on paper.
I then make the transparency, again using the photocopier. Finally I draw onto the transparency with an etching needle, working into the black areas, and add to it with crayon, lithographic pencil or Indian ink. This is the stage where I push and pull the image. When I feel it is resolved I expose the plate. No, not a lot. With an etching you work the plate until you are happy with the image, but with photopolymer plate you must work the transparency before exposing it.
However, there are a few things that can be done. The polymer surface is very receptive to drypoint lines so line work can be added at any time after exposure. Gesso or acrylic medium with or without carborundum for blacker tones can be painted onto the exposed plate to add tone or to cover up something if desired.
Prints can have a lithographic feel by painting or drawing onto sandblasted or grained glass just like you would on a stone. Plates can be exposed without a dot screen and washed out for a long time to be suitable for relief printing. Photographic or computer-generated images can be used just like they have for screenprinting in the past. You mentioned a dot screen. Can you explain what that is and why it is used? A dot screen is to a photopolymer plate what an aquatint is to an etching. Whereas an aquatint uses tiny rosin particles to create tone the dot screen is a high-resolution film covered with minute, random, opaque dots.
The dot screen is exposed first, then the artwork. If a dot screen is not used a type of open bite effect results, and sometimes this is preferred by the artist. There are different brands of plate available Mavelon , Printight , Torelief — all with different exposure times. Then it depends on whether you are using the sun or an exposure unit. Generally test strips are done to work out the preferred exposure time for a particular image.
Ideally it is best to do a workshop. The process may sound complicated, but it is really very simple and straightforward with enormous potential for making great prints. While working at Griffith University I used a technique of printing multi-colour lithographs from the same stone without graining between each new colour. This process is useful when there is a shortage of stones and time is limited, and also offers an interesting way of working for the lithographer who enjoys building up an image fairly quickly.
I have used the process up to eleven times on a single stone without re-graining and find it an excellent method which suits my way of working. It is also helpful when introducing people to colour printing for the first time. The process depends on successive printings with part or all of the image being eliminated after each printing and new work being added. The element of risk involved occurs because all impressions of the edition must be printed in the first colour before the image can be altered for the following colour.
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- The Nature of Colour: A consideration of the perception of colour, the location of colour and the nature of the unperceived world.
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There is no possibility of retrieving the original drawing and so judgements regarding colour must be accurate. I use 80 to remove the previous image and the ghost image, and then , and or three times each. I always take an extra print at this stage, onto a sheet of acetate, to help later with registration. When all the prints in the first colour are complete, the image is rolled up fully, dried, rosin and talc applied and a layer of gum buffed in tightly.
The ink is washed out thoroughly with turps, making absolutely sure that the stone is completely clean. Once a check has been made to ensure the stone is clean, then it is wiped down and fanned dry. At this stage the stone is lying with a gum film stencil on the negative areas and is open on the image areas. The next step is to burn out the exposed grease reservoirs of the original image areas by painting out the parts of the drawing to be eliminated. This is achieved with a gum etch solution of twelve drops of nitric acid: Tests have shown that strong burn-out etches are of no greater efficiency than repeated mild etches.
A good layer of the etch needs to be applied into the reservoirs as the grease reservoirs not completely destroyed by the burn-out etch will return as scummy images. When the gummed out areas are thoroughly dry, a coat of asphaltum is applied, the gum is washed off with water, the stone is sponged down and the remaining image is rolled up fully in black roll-up ink.
Rosin and talc is applied and a counter-etch solution applied to re-sensitise the stone for new drawing. The counter-etch is applied three times, rinsing off with water each time and the stone is finally rinsed thoroughly, sponged down and dried. New work may now be drawn onto the stone, adding to what remains of the first image. When the additions are completed, rosin and talc are applied, and gum is buffed in lightly. After thirty minutes, the stone is re-gummed and buffed down tightly.
Although I usually wash out the drawing and roll up straight into the new colour and print, if large editions are intended, it is recommended that the image is first rolled up in black, etched with a mild etch, rested and then washed out and rolled up in the second colour for printing. If the original drawing is excessively greasy, there is a possibility that deleted areas may re-appear. If this occurs at any stage, it is necessary to immediately clean the scummy areas and re-etch the stone.
Exactly the same process is then used to eliminate parts or all of this image and to add new drawing for the third colour and so on. The constant counter-etching causes the ghost of the original drawing to fade until it often becomes difficult to see where to introduce new work accurately.
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This problem is easily rectified by taping the printed acetate sheet into position by using the registration marks and then tracing through a red oxide sheet. It has been suggested that parts of each drawing be left and added to by each successive drawing; naturally, the entire image can be totally deleted by painting the burn-out etch over the whole stone. There is a danger when printing in colour, in that the coloured inks available are usually extremely loose.
This process has certainly added enormous possibilities to the sorts of qualities I seek in my lithographs and has more than halved the processing time usually involved in printing a multi-colour lithograph. Raking Leaves is an independent, not-for-profit commissioner and publisher of art projects, founded by Sharmini Pereira. What was the impetus to start Raking Leaves? Firstly, it was a desire to work with interesting artists without the constraints of an exhibition.
As a curator this involved teaching myself how to be a publisher, which I was motivated to do because as an independent curator you are constrained by many factors that I felt shackled by. It grew from a fascination with production and how an appreciation of materials and design working in unison with content could result in works that had an inevitability about them as books.
- Life's Introspections Vol VI: Sensual Etchings*?
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- Holocaust Memories And Other Poems.
I liked the exclusivity of something being a book and not an exhibition in order for it to be engaged with in the world. Raking Leaves was born out of the simple assumption that everyone was familiar with a book. Is this the kind of conversation you would have with an artist in anticipation of working with them on a publication with Raking Leaves?
In so much as the book form can provide a space for a contemporary art project, rather than being a document of it. Can you talk about the various ways that artists have responded to this? Conversations with artists begin in all kinds of ways but they do tend initially to go in the direction of discussing the merits of a book versus an exhibition. Or the reasons why a book lends itself to presenting a certain kind of work.
In the case of Aisha Khalid , for example, her idea for a book project was clear from the start. She wanted to work with the old-fashioned copybooks that were used in school to teach handwriting. We got together lots of samples and studied how they were made: The flip book predates moving film and led to silent cinema. It was obviously a wonderful form to work with for someone that works with video and photography without any dialogue.
What I find impressive about Raking Leaves publications is their conceptual and formal rigour: These are thoughtful projects and I imagine that their development is an involved one. We started working with Astrid Stavro early on. She was chosen as the designer because she has produced several interesting books in serial format and became instrumental in the discussions and production process. This was the first time she had designed a flip book but once she knew what it was, she began doing research on the ways in which 10 books could be housed together.
Bani wanted to present the books flat so that the first page of each book was shown, as opposed to a series of book spines. Monotype was used on the cover where you find the fictional interview about the character of the speech writer featured in the book project.
Again this was something that took several discussions and involved various design options. Creating the box was also involved. Finding a printer that could produce something this intricate that was not over engineered took several months of dummies and print buying in Europe and in Asia. As a publisher, how involved do you become in the form of the book? Is the artist given carte blanche or are there practical limitations imposed on the artist from the outset of the project? I am involved in the book from conception through to delivery.
Life's Introspections Vol IV: A Faint Heart's Plea
The role begins curatorially and evolves into that of a publisher. From experience most artists enjoy being given parameters of a kind. As an idea for a book project develops practical limitations do arise. Rather than see them as restrictions, I tend to see them as questions that require solutions. A number of anthropologists and legal theorists, for example, have been writing about and referencing The Incomplete Thombu in relation to displacement and legal debates around land rights in Sri Lanka. I imagine, though I may be mistaken, that these are difficult conversations to have given the current political climate in Sri Lanka.
Was there any trepidation in deciding to publish T. And if so, what was the nature of these thoughts or conversations? Prior to publication, trepidation arose more out of wanting to be respectful to those that contributed to the project and being careful not to sensationalise the subject matter, but not from any fear of censorship. Since publication the situation has been different.
Whichever way I think I choose to speak about the situation it will be interpreted as a form of self-censorship. If this was an artwork in a gallery I doubt it would court any kind of interest from the authorities. By being a book it circulates more readily and freely. There are a lot of conversations in Australia about the centre and the periphery with regard to the global art world. What influence does being based in Colombo have on Raking Leaves? For Raking Leaves Sri Lanka provides a base and therefore a centre from which its activities are generated and distributed, irrespective of any geo-political centre.
There are not any comparable initiatives in the region that are doing similar work which means we exist in a vacuum at times. Being off the radar has its advantages too, however. I think this ensures some kind of engagement and sustainability for when audiences do come into contact with Raking Leaves. Interest and support towards the archive was overwhelming and Raking Leaves was approached to establish it as a permanent physical archive in Jaffna.
If you need assistance with an order or the publishing process, please contact our support team directly. Below is the information that should be present in these notices. It is designed to make submitting notices of alleged infringement to us as straightforward as possible while reducing the number of notices that we receive that are fraudulent or difficult to understand or verify. Copyright Office website, http: To file a notice of infringement with us, you must provide us with the items specified below. Please note that you will be liable for damages including costs and attorneys' fees if you materially misrepresent that the material is infringing your copyright.
Accordingly, if you are not sure whether material infringes your copyright, we suggest that you first contact an attorney. This notice and any attachments we receive will be forwarded to the alleged infringer, who will then have the opportunity to file a counter notification pursuant to Sections g 2 and 3 of the DMCA.
Should a properly filed counter notification be filed, you will be notified and have 10 business days within which to file for a restraining order in Federal Court to prevent the reinstatement of the material. All required fields must be filled out for us to be able to process your form. We help people distribute information and art spanning a wide range of subject matter while providing a safe, friendly, respectful, and serious site for all content creators. Since our community serves a broad range of ages, we do not encourage content that could make a majority of our users uncomfortable.
If you are sure that this product is in violation of acceptable content as defined in the agreement or that it does not meet our guidelines for General Access, please fill out the form below. It will then be reviewed by Lulu Staff to determine the next course of action. Identify in sufficient detail the copyrighted work that you believe has been infringed upon for example, "The copyrighted work at issue is the image that appears on http: Identify each web page that allegedly contains infringing material.
This requires you to provide the URL for each allegedly infringing result, document or item.