Collaborative Research in incorporating 3D printing into traditional printmaking processes

While working as the printmaking studio coordinator during Session 3 in summer 2018, a few of my colleagues (Barrak Darweesh, Phirak Suon, Brandyn Callahan and Christian Oiticica) and I started a collaborative research in incorporating 3D printing into some traditional printmaking processes.

The plates was ran through an etching press several times to print various impressions- embossments, reliefs, etchings and a combination print.

The making of the plates must be done right in order to prevent the plates from collapsing under pressure. The plates can also be made in any shape or form, provided the maker/printer is aware of the nuances and issues to look out for. For example, the depth of the recesses must be taken into account when wiping is involved. If the recesses are too deep (as seen in image below), the ink will have a hard time making contact with the paper when printing and thus resulting in a technical unsound print.

There is so much more to discover with this process as this is only the beginning of combining 3D printing with traditional printmaking. Needless to say, we were all very pleased with the results and have officially donated a print to the Pilchuck Glass School collection.

Printer for artist Ho-Wan-Ut "Haila" Old Peter

It was a privilege to work as a printer for Artist in Residence, Ho-Wan-Ut “Haila” Old Peter during session 3 (2018) at Pilchuck Glass School. As a traditional Puget Salish basketry weaver and teacher, Old Peter has devoted over twenty years to the art of basketry. Old Peter specializes in cedar and beargrass baskets with a heavy focus on patterns and contrasting colors. She is committed to teaching and preserving basketry for her family and tribal members. It was a unique collaboration as Old Peter had never experienced printmaking prior to her residency at Pilchuck Glass School. We spoke about the best ways to approach printmaking with her existing knowledge and practice of basketry and below are the resulting prints. Old Peter decided to keep some of the prints as she found them hard to part with, and some of the prints were generously donated to the Pilchuck Glass School collection.

Printer for artist John Torreano

John Torreano is a New York–based artist and curator. Torreano is known for utilizing faceted gems in a variety of mediums in order to create "movement oriented perception" in his works. Torreano was one of two of Pilchuck Glass School’s Artist in Residence during Session 3 (2018). I was very fortunate to be able to advice and print for Torreano as he’s always wanted to try printmaking but never had the chance to. He worked on a series of monoprints that I helped print, below are the resulting prints. Some of them were donated to Pilchuck Glass School’s print collection while others are now in his possession.