Carinna Parraman, Professor of Design and Colour Print at the Centre for Fine Print Research at UWE Bristol, will present insights into new emerging technologies in colour and 2.5D printing technologies. She will consider mass customisation towards bespoke and personalised printing services for ‘one’, and how this new state-of-the-art has evolved as a hybridity of many different processes and materials.
During the latter half of the 20th century, in the age of mechanical reproduction, a common preoccupation with the term ‘original print’ was the printmaker’s ability to create exactly repeatable images. In the 21st century, and due to the impact of digital technologies, this emphasis has shifted from the mass production of exactly repeatable images, to the ability for the mass customisation for one.
Today as we work digitally and incorporate numerous computer-aided technologies as a part of our daily workflow our understanding and engagement with images is more often mediated by a screen. Digital technologies and social networks have irrevocably changed and challenged the way we access and share images. However, there is a renewed interest in the hand-made and a return to materials-based practices. This is partially due to increasing access to and better connectivity between computer aided reproduction methods and analogue methods. It is also due to online groups and social platforms that share ideas and projects. It may also be due to the impact of high quality journals and magazines, and as a result of artists’ awareness of the limitations and lack of variety and richness of materials when working with computer fabrication methods.
About Carinna Parraman
Carinna Parraman is Professor of Design and Colour Print at the Centre for Fine Print Research at UWE Bristol. She is Chair of the Colour Group Great Britain and Chair of IMPACT Multidisciplinary Printmaking Conferences. She is an artist, educator, printmaker and colourist. She has written on different aspects of colour and print that spans the arts and conservation, printing and colour appearance, science and engineering. Recent books include ‘Colour in the Making’ by Black Dog, and 2.5D printing: Bridging the Gap between Art and Science to be published by Wiley. She has been academic leader on a number of art, design and industrial collaborative research projects and has led a European multidisciplinary project on colour. She is co-editor for the forthcoming special issue of Journal of Craft (2018) that considers the relationship of craft and print, and will be co-editor of the Journal of Printmaking, both to be published by Intellect.
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