1. Surrealism ( For the collagraph printmaking unit)
Grade 10 Visual Art
Ms. Lim

2. Do you have a memorable dream or repetitive dream?

3. What do you think your subconscious is saying in these dreams?

4. Sigmund Freud Father of psychoanalysis
Neurologist who set up his own practice in Vienna to treat mental disorders through patient and doctor dialogue.
Ways he came up with to tap the subconscious:
Free association
Transference
Analysis of dreams
 May 1856 – 23 September 1939

5. Carl Jung Swiss Psychologist who founded analytical psychology.
Central concept: INDIVIDUATION
Integrating the opposites
Conscious and unconscious integrated but still autonomous.
Jung created some of the best known psychological concepts, including the archetype, the collective unconscious, the complex, and extraversion and introversion.
 26 July 1875 – 6 June 1961

6. Surrealism Visual and literary movement that began in the 1920s.
Key ideas:
Unconscious
Myth
Primitivism
rational mind repressed the power of the imagination, weighting it down with taboos
psyche had the power to reveal the contradictions in the everyday world and spur on revolution. 
Personal imagination (focus on objects found in street and life) not romantic ideas.
Visual and literary movement that began in the 1920s.
The aim was to "resolve the previously contradictory conditions of dream and reality". Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself.[1]
Surrealist works feature the element of surprise, unexpected juxtapositions and non sequitur.

7. Surrealism and the Subconscious
 Surrealism sought a revolution against the constraints of the rational mind; and by extension, the rules of a society they saw as oppressive. Freud and other psychoanalysts used a variety of techniques to bring to the surface thesubconscious thoughts of their patients. The Surrealists borrowed many of the same techniques to stimulate their writing and art, with the belief that the creativity that came from deep within a person’s subconscious could be more powerful and authentic than any product of conscious thought.
Surrealism and the Subconscious
In psychology, “automatism” refers to involuntary actions and processes not under the control of the conscious mind—for example, dreaming, breathing, or a nervous tic.
Automatism plays a role in Surrealists techniques such as spontaneous or automatic writing, painting and drawing; free association of images and words; and collaborative creation though games like exquisite corpse.
Surrealists were also deeply interested in interpreting dreams as conduits for unspoken feelings and desires.
The works explored here did not begin with preconceived notions of a finished product; rather, they were provoked by dreams, or emerged from subconscious associations between images, text, and their meanings.
Joan Miró. The Birth of the World. Montroig, late summer–fall 1925

8. Exquisite Corpse

9. Surrealist Landscape Landscape remained a popular subject
Imagery came from the subconscious mind
The Jungle
Wifredo Lam (Cuban, 1902–1982)
The Hunter (Catalan Landscape)
Joan Miró (Spanish, 1893–1983)
1924. Oil on canvas, 

10. Erotic Many Surrealists produced artwork with an erotic dimension.
Many ideas from
Freudian psychology (oral, anal fixation, Oedipal complex...)
“primitive” non-western art
Surrealists went further, breaking taboos and shocking viewers in their depiction of mutilated, dismembered, or distorted bodies. In the 1930s, such visions may have had particular resonance given the still-pervasive sight of WWI veterans left limbless or using prosthetics—and the specter of a second World War on the horizon.
Retrospective Bust of a Woman
Salvador Dalí (Spanish, 1904–1989)
Plate from La Poupée
Hans Bellmer (German, 1902–1975)
The Lovers
René Magritte (Belgian, 1898–1967)
1928. Oil on canvas.

11. Assemblage Meret Oppenheim. Object (The Luncheon in Fur) 1936. Swiss.
Assemblage is an artistic form or medium usually created on a defined substrate that consists of three-dimensional elements projecting out of or from the substrate.
It is similar to collage, a two-dimensional medium. It typically uses found objects.
Meret Oppenheim. Object (The Luncheon in Fur) Swiss.
Meret Oppenheim, Bee-covered bicycle seat, found photograph, 1954

12. Major Surrealist Artists
Each artist relied on their own recurring motifs arisen through their dreams or/and unconscious mind. At its basic, the imagery is outlandish, perplexing, and even uncanny, as it is meant to jolt the viewer out of their comforting assumptions.
Nature, however, is the most frequent imagery: Max Ernst was obsessed with birds and had a bird alter ego, Salvador Dalí's works often include ants or eggs, and Joan Miró relied strongly on vague biomorphic imagery.

13. Salvador Dali The Persistence of Memory 1931. Oil on canvas
The Accommodations of Desire (1929)
(11 May 1904 – 23 January 1989

14. Alberto Giacometti
10 October 1901 – 11 January 1966) was a Swiss sculptor, painter, draughtsman and printmaker
reminiscent of toys and games.
Existentialist after the war, he led the way in creating a style that summed up the philosophy's interests in perception, alienation and anxiety.
He is perhaps best remembered for his figurative work, which helped make the motif of the suffering human figure a popular symbol of post-war trauma.
The Palace at 4 a.m. (1932)
The Walking Man (1961)

15. Rene Magritte
 21 November 1898 – 15 August 1967) was a Belgian Surrealist artist
Ideosyncratic approach to Surrealism
Deadpan
Illustrative technique
The Human Condition (1933)

16. Max Ernst
2 April 1891 – 1 April 1976) was a German painter, sculptor and graphic artist.
Pioneer in both Dada and Surrealism
Attacked artistic conventions and traditions
Art of the mentally ill
Deep psyche as the source of his own creativity
Celebes (1921)

17. Man Ray Le Violon d'Ingres (The Violin of Ingres) (1924)
 August 27, 1890 – November 18, 1976) was an American visual artist who spent most of his career in France.
"I paint what cannot be photographed, that which comes from the imagination or from dreams, or from an unconscious drive. I photograph the things that I do not wish to paint, the things which already have an existence." — Undated interview, circa 1970s; published in Man Ray: Photographer, 1981.
Le Violon d'Ingres (The Violin of Ingres) (1924)

18. Collagraph
Project description: create a Surrealist-style collagraph. You can base it on
assembled images
dreams
Subconscious thoughts and desires
Personal imagination

19. How to make a collagraph
Additive process – you build it up through collage.
Step 1: brainstorm and show the process (it could involve games like exquisite corpse or a dream journal)

20. Step 2: Build up your plate
You can use cardboard, string, dried flowers and leaves, grasses mat board, fabric, lace, wallpaper
You can cut, glue, scrunch, rip

21. Step 3: Once all of the plate is finished, cover it with a layer of varnish and let it dry

22. Step 4: Apply ink - Intaglio
The plate can be printed ‘intaglio‘. This means ink is pushed into the grooves on the plate with the use of a brush or a piece of card. The excess ink is then wiped away.
Mix ink with linseed gel.
Try using a brush, the ones with stiff bristles as opposed to the type used for watercolour painting.
Work the ink well into the nooks and crannies of the plate paying special attention to deep crevasses and areas of carborundum, which absorb a lot of ink.
There are different ways to apply more than one colour on a plate depending on whether you want a clear delineation or for one colour to gradually blend into another.
I tend to favour putting on each colour separately and wiping away the excess before I apply the next one. It gives me greater control but every printmaker has their own way of doing it. You have to find what works for you.
The excess ink is wiped away.  This is usually done with scrim but polyester cotton sheeting is smoother yet absorbent and has less of a tendency to get caught in the rough surface of the plate or to leave fluff behind.
Finish off by polishing back the lighter areas with pieces of tissue.
The plate is then ready to print.

23. Printing - Relief
A collagraph plate can also be inked up for relief printing (as per linocut) In this instance ink is applied to the surfaces that stand proud on the plate). Even more interesting results can be achieved when both intaglio and relief inking methods are used together often with inks of differing viscosity.

24. Step 5: Printing
Cover with a sheet of heavy weight damp paper. When damp, paper has excellent moulding qualities.
Cover the paper with another sheet of tissue to protect the press blankets and pass through the press.
In all likelihood the plate(s) will have to be inked up and printed a couple of times before the full impression comes through (no white spaces showing through).

25. Don’t
Don’t use the coloured side of mount board. Create your plate on the light/white side otherwise you may have difficulty when you come to inking up to be able to see what you are doing.
Don’t use card or wood ply that is too thick.
Even more important – avoid applying the collaged materials too thickly to the surface. This will cause problems when the plate goes through the press. It may even damage the paper and/or press blankets.
Avoid using any sharp materials or edges for the same reason