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Inside the Picture: Installation Art in Three Acts - by Jane A. Sharp
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Conversations with Andrei Monastyrski - by Sabine Hänsgen
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Thinking Pictures | Introduction - by Jane A. Sharp
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31 October 2016 | By
Tatlin and his objects - by James McLean
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Housing, interior design and the Soviet woman during the Khrushchev era - by Jemimah Hudson
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Dressing the Soviet Woman Part 3: "Are Russians Women?" Vogue on Soviet Vanity - by Waleria Dorogova
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Dressing the Soviet Woman Part 1 - by Waleria Dorogova
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Eisenstein's Circle: Interview With Artist Alisa Oleva
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Mescherin and his Elektronik Orchestra - by James McLean
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SSEES Centenary Film Festival Opening Night - A review by Georgina Saunders
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Nijinsky's Jeux by Olivia Bašić
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Learning the theremin by Ortino
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Impressions of Post- Soviet Warsaw by Harriet Halsey
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Facing the Monument: Facing the Future
11 March 2015 | By Bazarov
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16 February 2015 | By Ivan Sollertinsky
Some Thoughts on the Ballets Russes Abroad
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Last Orders for the Grand Duchy
11 December 2014 | By Bazarov
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07 August 2014 | By Eugenia Ellanskaya
From Canvas to Fabric: Liubov Popova and Sonia Delaunay
29 July 2014 | By Alex Chiriac
My Communist Childhood: Growing up in Soviet Romania
21 July 2014 | By Alex Chiriac
Monumental Misconceptions: The Artist as Liberator of Forgotten Art
12 May 2014 | By Rachel Hajek
28 April 2014 | By Rachel Hajek
An Orgy Becomes a Brawl: Chagall's Illustrations for Gogol's Dead Souls
14 April 2014 | By Josephine Roulet
KINO/FILM | Stone Lithography Demonstration at the London Print Studio
08 April 2014 | By Alex Chiriac
24 March 2014 | By Renée-Claude Landry
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19 March 2014 | By Rosie Rockel
Leading Ladies: Laura Knight and the Ballets Russes
10 March 2014 | By Bazarov
Exhibition Review | Cash flow: The Russian Pavilion at the 2013 Venice Biennale
03 March 2014 | By Rosie Rockel
24 February 2014 | By Ellie Pavey
Guest Blog | Pulsating Crystals
17 February 2014 | By Robert Chandler Chandler
Theatre Review | Portrait as Presence in Fortune’s Fool (1848) by Ivan Turgenev
10 February 2014 | By Bazarov
03 February 2014 | By Paul Rennie
Amazons in Australia – Unravelling Space and Place Down-Under
27 January 2014 | By Bazarov
Exhibition Review | Siberia and the East, fire and ice. A synthesis of the indigenous and the exotic
11 December 2013 | By Nina Lobanov-Rostovsky
Shostakovich: A Russian Composer?
05 December 2013 | By Bazarov
Marianne von Werefkin: Western Art – Russian Soul
05 November 2013 | By Bazarov
Chagall Self-portraits at the Musée Chagall, Nice/St Paul-de-Vence
28 September 2013 | By Bazarov
31 July 2013 | By Richard Barling
Exhibition review | Lissitsky — Kabakov: Utopia and Reality
25 April 2013 | By Richard Barling
Exhibition review | Ilya and Emilia Kabakov: The Happiest Man
18 April 2013 | By Richard Barling
08 April 2014 | By Alex Chiriac
What struck me when confronted by the posters in KINO/FILM: SOVIET POSTERS OF THE SILENT SCREEN was the startling directness of their impact. Competing for attention amongst the flood of political propaganda posters and banners following the Russian Revolution meant that artists sought to ‘employ everything that could stop even a hurrying passerby in his tracks’. The Stenberg Brothers and their colleagues employed dynamic angular compositions using radically distorted perspective, unusual angles and bold, arresting colours.
What I find astonishing is that artists were often given less than 24 hours to design these posters, the results of which combined manual image making skills with mechanical processes. Posters were produced in large numbers using machine-run offset printing processes that had arrived in Soviet Russia in the late 1920s [1]. The urgency with which artists were forced to work contributed to the spontaneity and visual immediacy of the outcome.
London Pint Studio, in collaboration with GRAD, hosted a fantastic lithography demonstration that enabled us to grasp the complicated processes of lithographic printing and appreciate the incredible virtuosity of artists in successfully expressing the character and atmosphere specific to individual films.
[1] The off-set process uses a series of rollers; the image (the right way round) is transferred on to another roller (in reverse) which then transfers the image on to the paper the correct way round. This considerably speeds up the process for commercial production.
THE PRINCIPLES OF LITHOGRAPHY
Lithography is a planographic, or surface, printing process invented in the late nineteenth century. The term comes fr om the Greek lithos (stone) and graphein (to write). It relies on the chemical fact that grease and water repel each other.
Our Soviet-inspired design in three stages [using two plates]SIMPLIFICATION AND TRANSFER OF THE DESIGN
The lithographic stone used is an especially fine and porous type of limestone which comes from one particular quarry in Bavaria. In preparation for the transfer of the design the stone is polished with varying grades of carborundum grit until smooth.
Kath demonstrating the design transfer processThe design is transferred using red oxide transfer paper, which is chemically neutral.
[2] In Soviet film posters photographic images received from the Film studio would have first been squared up and then projected onto a layout board fixed to the wall. Artists could alter the size of an image by varying the distance of the projector and distort perspective by changing its angle, therefore suggesting the dynamics of film experience. Once complete, the image layout was passed onto the printers to be interpreted by craftsmen who would then transfer the image on to the stone.Testing our mark-making on a carefully prepared stone
The image is then drawn directly on to the stone with a greasy litho crayon. These come in five grades (five being the hardest, containing the least amount of grease) and alter the density of the line created. Tone is achieved through varied mark making. What you see on the stone is how it will look.
Gum Arabic – a curiously sweet and vinegary smell
The lithographic process is all about chemical modification; dilute Nitric acid is added to fix the image on the (alkali) stone, and rubbed with gum arabic to prevent any further grease settling. The stone is then washed, ready for the inking process.
Because the process relies on the mutual repulsion of grease and water, the porous stone must be kept damp prior to inking. Water is sponged on to the surface.
John Milner expertly using two sponges; one wet, one dry (to remove excess)
Greasy printing ink with the consistency of stiff black treacle is applied to the leather roller and then onto the damp surface of the stone. Wh ere water is present, the ink is repelled; wh ere the stone is etched and greasy marks remain, the ink will be attracted.
Lithographic ink is stiff in order for it to stick in the etched parts of the stone (the tooth) – otherwise definition is lostBusy Inking up the leather knapp roller; Kath from LPS expertly inking the stone; the first of many!
This inking process is repeated three times, with the stone kept damp throughout.
If the plate is not kept damp enough, the ink sticks to unwanted areas of the stone (right)Paper being carefully placed on the stone ready for printing; T bar marks, made on both stone and paper, are lined up to ensure exact registration.
The ink is transferred on to the paper by rolling the stone and paper together through the scraper press. The paper has been pre-printed area of flat colour using a photo-lithographic method.
Pushing the bed of the press until the stone is in line with the rollerHenry Milner pushing down the handle to increase the pressure; the stone is then rolled through, by Rosie Rockel at a steady speed.
The moment of truth: Paper peeled back to reveal the lithographic print!
The finished prints!
Thanks to the London Print Studio; a very successful workshop!
[3] See Lutz Becker, KINO: Revolution, Film and Design, KINO/FILM (Exhib Cat.), p.18