PURE PRINT concerns contemporary printing in the expanded field, in its eventual intersections with other technological and scientific areas existent at FBAUP: Glass, Ceramics, Photography, Painting, Drawing. The record of projects developed is situated in the meeting of printing with artists’ books, organized in 2012 and the pluri-disciplinary projects IJUP- UP. In keeping with its scientific-technical trend, it approaches non-toxic systems of printing, historical processes of photography and traditional photomechanical printing, the combination of digital technologies, and the revision of new developments in processes of photo printing on several supports (screen printing, intaglio and lithography). At play, also, is the purpose of its recovery in agreement with the current parameters of safety and low toxicity. The most predominant line of research is directed at the identification and reconstitution, at present, of a technological heritage of commercial origin and its appropriation in the context of the original fine art print. The project is founded on the gathering, study and revalidation of procedures of transference – based on a principle of autogenesis and precursors of the photographic paradigm – and extends the analysis of the creative principles of reproduction to the study of post photographic methods. It focuses on the adaptation of procedures originated in industrial contexts and in the archaeological recovery of procedures and respect for the methodologies of production in the many production centres where they are still practiced – academic contexts, edition workshops, commercial and industrial contexts as well as the study of treatises and manuals edited, in particular, between the 18th Century and the beginning of the 20th Century. Another strand aims to create workshop alternatives that are compatible with rudimentary workshop environments, developing sustainable solutions, replacing procedures with an industrial origin, as is the case of photopolymers, or direct emulsions used in the electronic industry, or the decals to be applied to ceramic and glass supports. This same strand presupposes the auscultation and recovery of industrial and/or artistic procedures that have fallen into disuse, in an industrial and scientific archaeology that recovers steps and knowledges of non-artistic contexts, with later development of new solutions applied to contemporary graphic production. The methodologies of technological revision imply the broad study of the most classical procedures, and the systematic study of its reproductive competences sedimented in centuries of technological innovation transmitted from the relation with the active masters, or from the recreation with a documental basis. Under this guidance, apart from the documentation and study of original material existent in the collections and heritage, of FBAUP and others, the recourse to the contribution of professional engravers and respective schools, this project documents and makes available the intense technological declination present in this area of image reproduction, pre and post photographic. The realisation of this purpose is confirmed in the technological reconstitution in the workshops of printing techniques situated in an academic context. Therefore, the identification of the photomechanical processes currently adopted, the documentation of the processes used in an industrial context susceptible of integration in an arts workshop, the conversion of a vast technical literature on procedures, some of which in disuse, and technological update according to more compatible solutions, spills to manuals that are useful to a new generation of practitioners. The project is accompanied by several phases of rehearsal, experimentation and application, the first disputed by formats that include the technological systematization with local teams, realization of workshops, seminars and demonstrations with guest researchers; to document and compile, we resort to the creation of books of specimens, manuals, artists’ books and portfolios of graphic work. One of the aspects of the dissemination situates itself in the autonomous production of artists’ books, publications and limited author editions, present in Publications like PPP- Pure PRINT PUBLICATION, In Pure Print Paper, D’après Abel Salazar created in the workshops from resources there existent, in partnership with small local book binding and printing companies.
The project includes yet other kinds of convergent theoretical-practical activities: talks, exhibitions and artist-in-residence programmes, presented on an annual basis through themed encounters (Pure Print Classical Printmaking in contemporary art 2013, Pure Print Elements 2014, In Pure Print 2015, Pure Print Madrid. Book_Art Edition 2017, Pure Print Porto 2018, Pure Print Porto Alegre Brasil). The several lines of research are differentiated in research programmes of short duration (MARBLED PAPER REPRODUCTION AND CREATION IN WORKSHOP CONTEXT AT FBAUP , SOFT Ground IN PRINTMAKING IN REPRODUCTIVE AND ORIGINAL CONTEXT, TRANSFER PAPER Practical production and application in workshop context FBAUP, WOOD ENGRAVING, history, production applied to illustrated publication, D’APRÈS ABEL SALAZAR, LÁZARO . ARCHEOLOGY OF A TECHNOLOGICAL HERITAGE OF COMMERCIAL ORIGIN ,GLASS AND PRINT: SINGLE FIRING ON GLAZED SURFACES.
Access to information and documentation of PURE PRINT is done through the dissemination of the PURE PRINT site, created each year to present one year program. In 2017 edition we collaborated with research group LAMP housed at Universidade Complutense de Madrid, in April in 2017. PURE PRINT will have two venues in 2018, with the introduction of the Instituto das Artes of UFRGS, Brazil, and its programming is scheduled for November 2018.
In the last 5 years the programme produced 52 workshops, 25 exhibitions, 18 demonstrations, 34 talks/conversations, 2 seminars, 2 master class, 7 projects. The participants come from Portugal, Spain, Belgium, Japan, Canada, Estonia, Latvia, Italy, Lithuania, Ireland, United Kingdom, Poland, Brazil, South Korea,
Partnerships: Vicarte, Lamp, Ceau
An edition: an example
Pure Print Porto, international printmaking meeting, proposed, in its fifth edition, the meeting between printing and the graphic heritage in the city of Porto. The project is based on a in situ experimental graphic drift around the city of Porto, there developed as workshop practice. In this case, it repeats the format tested in In Pure Print 2015 and concentrates the practical development in the study of two shops located at Rua do Belomonte, Francisco Costa & irmão and Escovaria de Belmonte. Here the search on materials, complementary equipment applied to binding, is analysed as principle of collaboration between professionals (bookbinders, printers and others) in activity, as well as applied to production of Pure Print Publication. Therefore, the inclusion of exploratory practices, including printing or the use of bookbinding facilities in commercial contexts dispersed in the city, becomes a working method. As in previous Pure Print editions, this very format was proven with the study of Casa soleiro: wood engraving workshop, allowing the construction of an wood engraving workshop in an academic context. From the tools, to the artisanry of the leathers, to the interview of the interlocutors of a traditional commerce shop, there remains the principle of urban reconstitution of the last commercially successful process to precede the photomechanical processes of hot foil.
Pure Print Porto includes, thus, a more intensive week with a programme of workshops “Moving Street”. In its antechamber, the development of tools at Escovaria do Belomonte (brush factory and store), and the selection of pigments and lacquers used in the production of dies and varnishes. From the knowledge and observation of the spaces, the participants produce a portfolio of prints with relief and intaglio techniques, in precise and selected points situated inside and outside of the buildings and shops, observing the relation between those and the street. The contents of the programme, with Print Proposals the exhibitions, Print Problems the demonstrations and conversations in situ or in the workshop, are organized in a chain that allows one to access, study and intersect materials. Just one street of Porto becomes the object of analysis and principle for production of printed images, the essay on producing after natural, and setting an exterior workshop, in a verification of new experimental contexts for the creation of printing already initiated from the project D’Après Abel Salazar.
As Pure Print, the meeting proceeds with the verification of an unlimited experimental field, and it embraces the reedition of selected workshops that allows the actualization of new developments realized by the partners. Guntars Sietiņš and Janis Murosvkis in Moving street printmaking tactics: old and new photomechanical printing techniques being just one example.
The practical formats promote the sharing of knowledges about different technologies of printing (relief techniques, chalcographical, hybrids, binding), combining methods of technological archaeology, already initiated in the scope of the Lázaro Project, and the creation of a poetical-visual essay, observing the variations of form in the printed image and the changes in meaning there implicit. Reviewing a concept of plein air exclusively applied to the essay on etching from nature, in this meeting activities are proposed that test the difficult relation between the exterior and interior in printmaking, between the demand for specialised workshop spaces and the will to establish the direct relation to the city. Therefore, this insistent prospection allows us to now launch the programme in partnership with Instituto das Artes of UFRGS, scheduled for November 2018.