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Thesis (M.A.)--Kent State University, 2008. / Title from PDF t.p. (viewed Nov. 10, 2009). Advisor: Noel Reifel. Includes bibliographical references (p. 6).

Thesis (M. S.)--Mechanical Engineering, Georgia Institute of Technology, 2009. / Committee Chair: Melkote, Shreyes; Committee Co-Chair: Danyluk, Steven; Committee Member: Graham, Samuel. Part of the SMARTech Electronic Thesis and Dissertation Collection.

The Living Chain is a body of work built to apply and analyze mythological narrative and traditional printmaking techniques. The work is a collection of prints telling an original narrative that derives much of its visual and thematic style from the works of the Baroque and Medieval periods, as well as significant influence from the prints of Gustave Doré. The purpose of this paper is to explore the ideas, mythologies, histories, and symbols found in and inspiring the work, in order to better understand the work’s purpose and its technical challenges. Additional focus is given to the historical significance and cultural impact of meaningful, mythological narratives and the differences between modern and historic narratives told through sequential works of art.

It Should Be Familiar is an artist’s book and collection of copper and steel intaglio printing plates. Together they examine shifts in external and internal identities, personal symbols, and perceptions of trauma over time. The book is printed with a plant-based dye mixture that reacts differently to each metal plate. As a parallel to the mentioned personal shifts, images in the book will change color with exposure to the metals as well as UV light.

This project involved a series of linoleum, woodcut, and intaglio prints whose subject matter was derived from my imagination. The inspiration for this work is the ocean and the myriad life forms found there. I perused books on the ocean and created characters from these images. These prints also have a psychological edge and emotional aspect reflecting the state of mind I was in when 1 created them. Putting these ideas together in the intaglio prints as well as using different techniques was the challenge in making this work. My goal was also to explore linoleum and woodcut prints where I used multiple blocks and/or rolled more than one color on a block to achieve a multitude of hues for one image. I found this complex way of making images exciting and feel that the works created have been successfully resolved. / Department of Art

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaf 27).

Abstract In gravure offset printing, ink is transferred with the help of an offset material from a patterned gravure plate to a substrate. This thesis is concerned with the study and further development of this printing process for electronics; on alumina, glass and polymers. The work has been divided into five parts. In the first section, the printing process is described. The second section describes the composition of the inks for gravure offset printing and the resulting ink properties. It also presents the ink transfer mechanism; the model that explains how the ink is transferred between an offset material and a substrate. The third chapter details the printing process explained by a solvent absorption mechanism. The forth chapter describes the firing/curing of printed samples and their properties. The last chapter describes applications of the method. The inks used to produce conductors on ceramics (ceramic inks) and conductors on polymers (polymer inks) contain silver particles, and were under development for gravure offset printing. The major achieved properties were the high ink pickup to the offset blanket and high transfer percentage to the substrate. 100% ink transfer from blanket to substrate for ceramic inks and almost 100% ink transfer for polymer inks was obtained. The printing of ceramic inks was able to produce 8 μm of relatively thick, 300 μm wide lines with < 10 mΩ/sq. resistance. The minimum line width for conducting lines was 35 μm, with one printing. Multi printing was applied producing as many as 10 times wet-on-wet multiprinted lines with 100 % ink transfer from blanket to substrate resulting in a square resistance of 1mΩ/sq. Polymer inks were able produce a square resistance of 20 mΩ/sq. for 300 μm wide lines after curing at 140 °C for about 15 min, and the minimum width was down to 70 μm. In the optimised manufacturing process, the delay time on the blanket was reduced to 3 s. In addition to ultra-fine-line manufacturing of conductors, the method enables the manufacture of special structures e.g. laser-solder contact pads with 28/28 μm lines/spaces resolution. With industrial printing equipment it is possible to produce 100 m2/h with the demonstrated printing properties.

Tradition begins with innovation. The rich and complicated history of Printmaking is shaped by invention and discovery. I see this advancement for the sole purpose to distribute knowledge and ideas to every person regardless of prosperity and status. At its core intention is the need to make art and knowledge accessible. The procedural research I have been exploring along side my artist research was designed to do just as invention in printmaking has done before. I have applied my knowledge and availability of modern technology with traditional ways print artists create. These new processes are geared to make photomechanical practices in lithography and intaglio cheaper and more accessible to artists and students with limited resources. I have also included a statement about the artwork that has been able to be developed because of this research to provide context for my artistic practice.

Linking his thematic inspiration (the strange, the bizarre, the weird and the odd) to his artistic reflection, Lopez conceives of his work as based on his fascination with human facial expressions. "It is there where it is born", he says. Like Leonardo, he believes that the eye is the superior organ. Lopez's use of form and color represents his main objective: to show emotion, humanity and elegance. For that, it is necessary for him to reveal character as well as beauty. It is again, the approach used by the great masters such as Leonardo, Velazquez, Gericault and Goya in representing integrity inside the strange, the bizarre, the weird and the odd. Lopez's art invites the viewer to stare at it, to establish a cordial exchange and to venture into the fascinating world of the unusual.