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Painterly techniques previously associated with lithography, sculptural and relief surfaces found in calligraphy and etching, and the process and mystery of the photographic darkroom all find currency here today. The rich surfaces and process oriented approach of screen printing today has broken the spell cast by Warhol, Lichtenstein and others from the 70s. Because of the extraordinary adaptability of this nearly non-toxic medium, it stands as both a companion and counterpoint to digital printing in its possibilities and processes — and as a hybrid medium that continually redefines itself and its relationship to all other forms of imagemaking.This new attitude towards the medium can be expressed through a number of new non-linear approaches. The excavated print and the relief surface print are two of the most adaptable multi-faceted ways to adapt ideas and imagery to screenprinting.

Continue: The Excavated Print
  The Relief Surface Print


 
Small Target II 1997, by Pavel Makov.
An early example of an “excavated” sanded print. There were many incidental pitted and scarred marks made by the hand sander that the aretist encouraged. Some of the central details were printed after the image was sanded.

(detail) Oil #12 2004, by Renée Stout. A razor blade was used to scrape the surface of this print, to bring the red numbers through the black overprinting and burnish the surface to a glooss at the same time.