CHRISTIAN MONTORO
MARCH 2016
ZION
To Mindi and John Montoro For supporting my dreams and exposing me to wonderful places in nature.
YOSEMITE, SEQUOIA
JULY 2001
MAY 2013
GREAT SMOKY MOUNTAINS
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JOSHUA TREE
DECEMBER 2014
OCTOBER 2012
SHENANDOAH
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Visiting U.S. national parks is a spiritual experience that relaxes my mind and renews my appreciation for the sublime. The visual and auditory absence of noise at national parks has a transformative effect on my psyche. How can I translate this experience through a printmaking process to reward the viewer and effectively communicate the value of this land? In my research, I seek to capture the atmospheric quality of national park landscapes through a printmaking process of split-fountain serigraphy. I intend to print gradated colors on luminous paper to build the atmospheric qualities of depth, life, and silence. I will replicate the process to make a variable edition of prints that will show the distribution of color over time in the manual process. Each print will reference a different park I have visited without being overtly literal. By following simple parameters to control the printing area, I aim to capture the essence of each landscape through my own visual language. With this visual language of screen printed work, I will develop other vehicles for communicating the images as a system. This language will build on the existing NPS brand, while providing a contemporary voice that can generate renewed support for the National Park Foundation and the future of our national parks.
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ABSTRACT
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RESEARCH 15 ATMOSPHERE
21 NATIONAL PARK SERVICE
25 COLOR PALETTE
EXPERIMENTS 31 SPLIT–FOUNTAIN
37 PRINTS
135 POSTERS
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MAY 2012
PACIFIC COASTLINE
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AIR OF A PARTICUL AR PL ACE INTRIGUING OR SINGUL AR TONE PERVADING MOOD INFLUENCE OF ENVIRONMENT SET OF CONDITIONS
ATMOSPHERE The scientific definition of atmosphere is the layer of gases that surrounds a planet and are held in by gravity. Earth’s atmosphere helps protect living organisms from genetic damage. In addition to the scientific definition, I have developed five phrases that are also connected with the usage of the word in the English language. With these poetic descriptions of atmosphere in mind, I made connections between atmosphere and art that focused on color, human interaction, perception, and experience. Artists in the abstract expressionist movement of the 1940’s in New York were particularly inspirational for this project. In addition, I found the work of John Cage to be relevant from the ideological approach to image making.
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GUY WALKS INTO A BAR. SEES THE PAINTER FRANZ KLINE SIT TING DOWN WITH A BEER AND SAYS, “HEY FRANZ, JUST CAME FROM THE NEW BARNET T NEWMAN SHOW.” KLINE SAYS, “OH YEAH? WHAT DID YOU THINK? I HAVEN’T SEEN IT YET.” GUY SAYS, “YOU KNOW, IT SEEMED PRET T Y SIMPLE, JUST A BUNCH OF PAINTINGS WITH LINES.” KLINE SAYS, “HUH. THESE PAINTINGS… ALL THE SAME COLOR?” GUY SAYS “NO.” “THESE PAINTINGS, THEY ALL THE SAME SIZE?” GUY SAYS “NO.” “HOW ABOUT THOSE LINES? THEY ALL THE SAME COLOR? SAME SIZE? SAME PL ACEMENT?” GUY SAYS, “NO.” KLINE SAYS “SOUNDS PRET T Y DAMNED COMPLICATED TO ME.”
ABSTRACT EXPRESSIONISM
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INSPIRATION
I appreciate abstract expressionism because these paintings take time to unfold. They are not intended to be looked at quickly and understood, but reward the viewer for their time. Artists like Franz Kline, Agnes Martin, Barnett Newman, Natvar Bhavsar, and Mark Rothko always involved a physical process with common materials like house paint or tape. Ad Reinhardt strived to achieve the most matte finish possible with his paint, so that no light would reflect to the viewer’s eye. Natvar Bhavasar worked with a large screen and pigments to make his unique version of sand painting. Franz Kline simplified his approach with abstract strokes of a large brush to make monochromatic paintings. In many of these works, viewers have the opportunity to perceive color and human involvement directly without any interference. Although they tend to be subtly, the paintings are studies in perception that reveal themselves as the eye adjusts. The work of Mark Rothko had perhaps the greatest influence on my approach to this project. Over the later part of his career, Rothko worked with a composition of rectangular forms of colored fields. Rothko was able to make a diverse range of images within this composition by focusing on how he painted, rather that what he painted. By adding thin layers of color at a time, and was able to soften the edges of the color fields to achieve an extremely luminous result. The large-scale paintings overwhelm the viewer and elicit emotion and mood from the contrast, range, and balance of colors present. Each of these artists operated within the constraints of a simplified process, in order to focus on the nonrepresentational details of their work. The attention to the quality of paint strokes, the placement of paint, and layering of paint became increasingly important. These artists spent considerable time developing
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systems for augmenting their materials. To achieve matte finishes and thin layers, they had to add proper binders and break down their materials. Connection with the material is critical to both the process for these artists and in understanding the work. In a similar way, I attempted to represent the national parks in a way that demands the attention of viewers and rewards them for their efforts. The landscapes of park lands are the inspiration for my work, but the results should resonate with the emotion and mood of the experience. Throughout my experimentation I made images that do not conveys specific scenes, but the atmosphere of each place. Much like a Rothko painting, we are engulfed by the scale and magnitude of park land, and the layers and depth of colors present. I have distinct memories of this experience from my visits when I looked out at the Grand Canyon, Great Smoky Mountains, Petrified Forest, Joshua Tree, Zion, and many other enchanting landscapes. To appreciate these landscapes, you have to take your time and you have to care. Then you are rewarded with the relaxing benefits of being in a completely natural environment.
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REDWOOD
AUGUST 2015
ANSEL ADAMS
YOSEMITE
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NATIONAL PARKS
Author and environmentalist Wallace Stegner once called America’s national parks, “the best idea we ever had”. One hundred years later, in August of 2016, the U.S. National Park Service (NPS) will celebrate it’s centennial year of existence. The NPS is an agency under the Department of the Interior, officially established in 1916 by congressional act. The NPS works as a conservation effort that maintains and protects a network of 411 monuments and 59 national parks throughout the United States. The NPS is funded by the annual federal budget and money raised by the National Park Foundation, the official charity of the NPS. Funding is important to complete necessary maintenance and keep parks open and protected for public use. Over the last century, multiple generations of Americans have visited land protected by the NPS and shared their experiences in music, writing, movies, art, and storytelling. In 2016, most national park experiences are shared online as people easily document and share digitally. The National Park Foundation is currently 11.8 Billion dollars behind in backlogged maintenance, and attendance by younger Americans has been in a steady decline. In 2014, the National
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Park Service kicked off a movement called “Find Your Park”, as well as an updated identity system to prepare for the publicity surrounding the Centennial. The Works Progress Administration funded screen printed posters in 1935 and 1936 to employ struggling artists. Officially named the Federal Arts Project, these commissioned posters were intended to promote the National Park Service by detailing the beauty of federally protected U.S. land. These prints not only increased public interest in national parks, but also in the artistic medium itself. Silk-screen printing is a technique that is intended for fast production. As a less complicated printing method, screen printing became a tool for social democracy, where art was readily shared with the public. The national park series was immensely popular, emphasizing the magnificent features of each park in dramatic illustrations and rich color combinations. It continues to sell today and inspired me to begin printmaking as a hobby in 2013 while in Richmond, Virginia. I chose screen printing as the mode for my research as a reference to this original poster series.
59 NATIONAL PARKS
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DEATH VALLEY
WRANGELL–ST. ELIAS
SAGUARO
YELLOWSTONE
ZION
VOYAGEURS
WIND CAVE
SHENANDOAH
PINNACLES SEQUOIA YOSEMITE
VIRGIN ISL ANDS
ROCKY MOUNTAIN
THEODORE ROOSEVELT
REDWOOD
PETRIFIED FOREST
OLYMPIC
NORTH CASCADES
MOUNT RAINIER
L AKE CL ARK MESA VERDE
KOBUK VALLEY
MAMMOTH CAVE
KINGS CANYON
L ASSEN VOLCANIC
KENAI FJORDS
KATMAI
HAWAI’I
GREAT SMOKY
JOSHUA TREE
HALEAKAL A
ISLE ROYALE
HOT SPRINGS
VOLCANOES
EVERGL ADES
GRAND CANYON
GREAT SAND DUNES
GUADALUPE MOUNTAINS
GREAT BASIN
GL ACIER BAY
DRY TORTUGAS
CUYAHOGA
CARLSBAD CAVERNS
CRATER L AKE
MOUNTAINS
GRAND TETON
GL ACIER
DENALI
BIG BEND
BRYCE
BADL ANDS
CAPITOL REEF
CONGAREE
CANYONL ANDS
GATES OF THE ARCTIC
VALLEY
ARCHES
BL ACK CANYON OF THE GUNNISON
AMERICAN SAMOA
CHANNEL ISL ANDS
CANYON
BISCAYNE
ACADIA
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ORIGINAL NPS LOGO
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COLOR PALETTE In the 1930s and 40s, the silk-screened park posters were illustrative works to showcase the features of the parks to people who had never seen them before. Today, Americans are very familiar with these national monuments and landscapes. They are well documented and accessible. What is more difficult to capture is the emotional feeling and connection to these parks. With the gradation of color, I can replicate a dream-like texture that represents our memories of being in these great outdoor spaces. Color is inherently an emotional experience that connects with people on a psychological level. Color stimulates our memory and changes our perception. By focusing on color, I was able to set up conditions for my translations in print. I studied landscapes to pick up visual cues of layers of color that exist at each park. There is no singular experience that you can have at a park, nor is there one color palette. Parks are a collection of moments, documented by people with photographs, video, written and spoken stories. Rather than replicate one specific photo, I approached each park through the same applications that younger generations do today– social media. By viewing a collection of images from many different sources, I noticed patterns that emerged in the strength of color, the quality of light, and importance of certain park features. Having been to these parks myself, I also leveraged my own memory in combination with
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the online material. By the time I began mixing paints, I realized how the process itself would alter my color choices. Knowing that the color would exist in a blend, I build my palette around the critical colors that best represent each park. I intentionally chose a consistent horizontal relationship to print color on a portrait surface, loosely based on the ground and sky. I was inspired by the book Visual Art: To Quiet and Sober the Mind. Kathan Brown writes about John Cage’s work from his collaborations with Crown Point Press on printmaking projects. John worked with chance operations to compose prints in the same way he approached music. With chance operations, John let the process itself dictate the end results, setting parameters around the chance events. His work does not manipulate the viewer by his own intentions, nor does it tell you how to react. My print experiments do not follow chance operations in the same way as John Cage, but it shares a strong connection. While I have control over the color selection and pull of the squeegee, much of the process is out of my control. As a designer, I am aware that this type of process will yield images that require typography to support clear communication. My goal is to make more powerful design without manipulating the viewer’s entire experience. This result is intended to remind people of how they look and listen to their surroundings when they are in nature.
MEMORY Looking through old photos and video from my vacations to national parks, I tried to remember the most impactful vistas and features of each park. This project focuses on four popular parks with unique landscapes that left a strong impression on me.
REDWOOD HAWAI’I VOLCANOES YOSEMITE SHENANDOAH
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COLOR MATCHING By examining printed photographs, I matched color with color-aid and paint swatches. This exercise was conducted to develop my understanding of value and hue as well as train my eye. By squinting, I found it easier to discern value differences.
COLOR-AID PAPER SWATCHES
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INKJET REPRODUCTION
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SPLIT-FOUNTAIN
Screen printing teaches me patience. It forces me to give my full attention to the task and solve problems quickly as they arise. If a problem is not resolved quickly, it is likely that the screen will need to be cleaned, ink thrown away, and the blend started over. I learned to accept the print process and let the work go in a different direction than I originally intended. I have dripped paint in the wrong section, mishandled the squeegee, and made many uneven pulls across the screen. A split-fountain is a technique for combining two or more colors on a screen. Prior to printing, the ink is mixed with the squeegee and colors blend over time as the screen is flooded and printed. This process creates a gradation of color, leading some to call this process a rainbow roll. Natural variation occurs in the blended results and gives each print a unique quality.
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My printmaking inspiration comes from the work of Jeffrey Dell, Heretic Studios, and artist duo Gfeller and Hellsgard. The work of these artists demonstrates a high level of expertise with split-fountain technique and innovation of the medium with silkscreen printing. I reached out to Jeffrey Dell, who is based in Austin, Texas and teaches printmaking at Texas State University. The luminosity in his prints convinced me to work on Yupo paper as he does. Yupo is a synthetic paper that is a class 5 100% recyclable, non-tree product. For a project about national parks, it was only fitting to work with a paper as good for the environment as Yupo. In addition to the luminosity, Yupo has a very smooth texture, is very flexible, and durable.
JACK WHIT TEN PULLED SQUEEGEES, RAKES, AND COMBS THROUGH PAINT AS AN EXPRESSION OF THE COMPLICATED EMOTIONS OF THE CIVIL RIGHTS MOVEMENT IN THE SOUTH. HIS EXPERIMENTATIONS YIELDED A RANGE OF TEXTURES AND REVEALED COLORS TO SUPPORT HIS NARRATIVES. I SAW JACK WHIT TEN: FIVE DECADES OF PAINTING AT THE WALKER ART CENTER IN MINNEAPOLIS AND WAS IMPRESSED WITH THE HUMAN INTERACTION EVIDENT IN HIS PIECES.
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TECHNIQUE
Mixing inks properly is a critical step in the split-fountain print process. Different colored inks vary in their consistency, as does exposure to air, mix-ins like transparent base, and water. White ink in particular proves challenging to mix because it is noticeably thicker than other inks. By mixing more colors together, I increased the complexity of the project and had a better chance for issues to arise during the blending. When the ink was not setting well on the Yupo paper, I followed Dell’s advice to add 25% Goldman GAC 200 to the ink. This acrylic medium is a polymer that allows the ink to attach to nonporous surfaces like Yupo. In addition to the ink, there was a learning curve for the technique of the printing itself. I am familiar with screen printing one color at a time, but had to develop a system for blending the inks. I started by tapering the ink outside the print area and then mixed with cardboard cards. With the squeegee, I kept a consistent back and forth horizontal motion during the first few flood strokes to encourage blending. After a few prints, I switched to a straight pull for the flood stroke and attempted to fill the screen with a perfectly smooth motion. Any inconsistency in this flood stroke led to streaks and poor mixing. Once this happens, it can take a few prints to even out the streaks.
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After the print stroke, it is critical to flood the screen as quickly as possible. By leaving the screen open, the screen can dry up with the ink from the last print and it will not be receptive to the next flood stroke. This dryin problem is even more prevalent in hot and dry climates like Arizona. While time is of the essence to re-flood the screen after a print, it should also be done with care, so as to continue the blend properly. As the screen gets closer to a good blend, it will require more ink to keep it going. This is a technique that took much practice on my part. I found the most success by flooding the screen and adding small amounts of ink to each color section. If done properly, the extra ink will mix in smoothly and keep the blend going.
PRINTS
PRINTS
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THE ACTION OF DOING SOMETHING IS MORE IMPORTANT THAN THE ST YLE. IT’S EVEN BET TER IF THAT ACTION IS A COMMENTARY ON HUMAN BEHAVIOR, SHOWN IN A WAY THAT MAKES PEOPLE FEEL OR THINK DIFFERENTLY.
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PRINT The printing process began with practice of the splitfountain technique on newsprint. Quickly I moved on to the Yupo paper, trying both white and transparent Yupo. I systematically tested inks of different consistencies and degrees of transparency. Rather than adding a layer of transparent base between inks, I wanted to blend the colors directly. To do this, I mixed ink with at least 50% transparent base or base extender. I began with two colors and increased as I felt comfortable with the results. Once I began the prints for the four parks I selected, I made a practice series to see how the ink was reacting and if I was satisfied with the color blends. I documented how
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many blends it took for lighter colors like yellow to be absorbed into the blend. It was fascinating to see how the blend would change over the course of fifteen prints. Due to the scale of my printing, a 14x9� surface area, it was a challenge to keep the print from sticking to the underside of the screen. I implemented a system of shims and sponges to lift the screen further off the table. I became more comfortable with the process as I gained experience, but there was always a chance for the results to completely surprise me. With manual split-fountain printing, consistent prints are not always a reasonable expectation.
PRACTICE
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NEWSPRINT
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YUPO WHITE 11X14”
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YUPO TRANSPARENT 9X12”
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HAWAI’I VOLCANOES NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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REDWOOD NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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NPS BRAND The NPS is consistent with the use of natural materials, often rock and wood for the construction of their signage and visitor center buildings. Introducing this color gradient system can enhance the current system by bringing in a unique identifier for each park. The color will be visible from far away and recognizable as a part of the NPS brand. As a result, the NPS can preserve it’s history and still update the look with a contemporary feel. This poster series is intended as a fundraiser for the National Park Foundation, similar to the WPA screen print posters series.
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POSTERS
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The Big Island June 2004 In contrast to the visual diversity that paints the islands of Hawaii, the earth turns black and grey for miles. Hidden underneath the unsaturated landscape is the warm burning color of new earth. Then suddenly, the land breaks and reveals the beauty within. It draws you closer for a chance to witness this phenomena. This is Hawai’i Volcanoes National Park.
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HAWAI’I VOLCANOES NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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HAWAI’I VOLCANOES
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HAWAI’I VOLCANOES NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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HAWAI’I VOLCANOES NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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ALTERNATES
California Coast August 2015 Coming down the California coast, a breathtaking view of the Pacific horizon is constant as it lulls you with a cool breeze. Then suddenly the air turns moist, the light warms, and you feel life around you. Evenly spaced redwoods allow visitors a good look at the old growth forest. Your eyes catch a variety of green leaves, with sunlight reflecting through, and you have the sudden urge to take a walk with these giants.
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REDWOOD NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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REDWOOD
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REDWOOD NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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REDWOOD NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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REDWOOD
ALTERNATES
Bue Ridge Mountains October 2011 Timing the season just right, we head towards our campground along Virginia’s infamous skyline drive. Rolling hills interupt lush valleys, dotted with vibrant colors of autumn. The diversity of plant species and the inevitability of the season call for your attention. Layers of leaves build upon one another, the greens and yellows giving precedence to the deep saturated pigments of red and orange. Winter is coming.
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SHENANDOAH NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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SHENANDOAH
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SHENANDOAH NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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SHENANDOAH NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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Northern California June 2010 A park well-documented by Ansel Adams and emblematic of the northern California roadtrip, Yosemite is burned into memory. Adventure seekers flock to the massive grey walls that rise out of thick forested canyons. Winter thaw is forcing itself down the sides of rock to fill up large reservoirs. We become aware of bears waking from their long slumber, as the sun reflects off the ground and warms us as well.
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YOSEMITE NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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YOSEMITE
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YOSEMITE NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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YOSEMITE NATIONAL PARK. U.S. DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE.
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YOSEMITE
ALTERNATES
ROCKY MOUNTAIN PRINTMAKING ALLIANCE
WATERSHED CONFERENCE
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With the proliferation of websites devoted to trending portfolio work, it is easier than ever to see the appropriation of ideas through common images, typography, compositions, colors, and technique. As art often influences design, the fascination with trending work is reshaping the design process. Appropriation is no longer contained to one influence, but is the result of an average. Is there a difference between the appropriation of a trend and the imitation of work? How are trending results affecting the diversity of work produced? On April 14, 206, I gave a panel lecture at the bienniel symposium, “Watershed�, for the Rocky Mountain Printmaking Alliance in Boise, Idaho. My discussion of imitation vs. trend brought the perspective from visual communciation design to the topic of appropriation in printmaking. I presented
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PANEL ABSTRACT
a need for printmaking and visual design to collaborate more in all phases of a project, not just the production. By experimenting with physical tools like print, the material process can influence the visual communication system in a unique and powerful way. Rather than a digital solution that appropriates from trends online, physical processes have roots in reality. The solutions are more likely to be authentic and appreciated by the public. This project, Atmosphere of Print, is my attempt to try this physical method. In the follow-up edition to this book, these prints will be applied to a range of visual communication assets within the National Park System as well as digital communication tools.
REFERENCES Jack Whitten - Alexander Gray Associates. (n.d.). Retrieved February 15, 2016, from http://www. alexandergray.com/artists/jack-whitten Meshed Histories: The Influence of Screen Printing on Social Movements. (n.d.). Retrieved February 16, 2016, from http://www.aiga.org/meshed-histories-the-influence-of-screen-printing-on-socialmovements/ National Park Service Centennial. (2014). Retrieved March 02, 2016, from http://www.nationalparks.org/ our-work/celebrating-100-years-service Harris, B. (2011, January 5). JUST A BUNCH OF PAINTINGS WITH LINES? Retrieved February 07, 2016, from http://www.moma.org/explore/inside_out/2011/01/05/just-a-bunch-of-paintings-with-lines Musselwhite, P. (2009). SEGD. Retrieved March 12, 2016, from https://segd.org/national-park-service-identity-and-signage National Gallery of Art. (n.d.). Retrieved May 02, 2016, from http://www.nga.gov/content/ngaweb/features/ slideshows/mark-rothko.html
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ATMOSPHERE OF PRINT Christian Montoro Master of Visual Communication Design 2016 The Design School Herberger Institute for Design and the Arts Arizona State University Tempe, Arizona 100# Dull Book White 100# Dull Cover White 6.75”x9.5”
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