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Post-Digital Printmaking: Cnc, Traditional and Hybrid Techniquesby Paul Catanese
Synopses & Reviews
This groundbreaking book establishes Post-Digital Printmaking as a distinct area of printmaking practice both technically and conceptually. Radically different from digital print production (inkjet on high-quality paper), Post-Digital Printmaking integrates Computer Numeric Control (CNC) devices such as laser cutters and CNC routers with matrix production for lithography, intaglio and relief. This contemporary practice incorporates the strengths of both digital and traditional, resulting in hybrid printmaking techniques.
A comprehensive and accessible technical introduction to this important area of printmaking, this book explains techniques and processes in detail, discusses the contexts within which Post-Digital Printmaking has arisen, and includes examples and case studies of artists applying these hybrid techniques in their work.
Computer Numeric Control (CNC) devices are now being used as a means of developing new printmaking techniques. Radically different from digital print production (inkjet on high-quality paper), CNC printmaking uses laser cutting, waterjet cutting and CNC milling to produce plates and can be integrated with traditional methods, such as lithography and relief.
This book establishes CNC printmaking as a distinct area of printmaking practice both technically and conceptually. It provides a comprehensive and accessible technical introduction, discusses the contexts within which CNC printmaking has arisen, and includes examples and case studies of artists applying CNC in their work.
About the Author
Paul Catanese and Angela Geary are both early advocates of CAM/CNC processes, and have been writing articles and lecturing on this subject since 2006.
Paul studied in New York and Chicago and works in the Faculty of Interdisciplinary Arts at Columbia College in Chicago. His work has been exhibited widely and he has written extensively about the application of digital technology in art.
Angela is a Reader and Programme Leader in Art Conservation at the School of Arts and Social Sciences at Northumbria University in the UK. She has held a number of academic appointments, including at the RCA, GSA and the University of the Arts in London. Angela has also contributed to a number of journals and other publications.
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