We are all print-makers. We make prints on a daily basis. Whether we’re duplicating memorandum on the office copier, outputting a resume on the laser printer or printing personal photos on an ink jet, we all have easy access to making more than one of something on paper.
But when you bring the words together as one, “printmaker” evokes something else entirely. It might suggest an expert using antiquated equipment powered by their own elbow grease and sheer will. Or one could imagine a scholared artist making limited-edition prints. Maybe you think of a graphic designer who moonlights silkscreening posters for his favourite bands. Or a letterpress printer who makes and sells her own line of stationery. You could picture a textile designer committing her designs to fabric using blocks or screens. Perhaps you think of an illustrator carving his art on rubber erasers and simply stamping the results. You could picture all of this—and there would still be more!
Printmakers are as varied as there are techniques, methods and technology. From monoprints to multiples, this issue of UPPERCASE is all about this love of making an impression.