giclée process because the resolution and color

permanence insures that an art buyer will have

a lasting piece of art that encapsulates Raviv’s
unique gestural style.
Technical innovations in computer graphics
have pushed the boundaries of traditional
image-making so that an illusion of three
dimensions can be fabricated in real space
with the use of 3-D modeling software. Threedimensional
printing begins with the creation
of a computer graphic that is described as if it
has height, width, and depth. Of course these
dimensions do not exist, but are formulated
within a computer application that allows the
artist to “draw” the form. Once the object is
created, the artist can print the object as a real
object, add finishing touches, then exhibit. Like
a traditional two-dimensional print, a threedimensional
print can be made many times and
can even be considered an edition when all the
works are identical.
The American sculptor Kurt Dyrhaug
(b. 1966) creates three-dimensional prints
of sculptures using 3D-modeling. His work
Unterschieden Tonka (2.3.23) may look like a
cast metal object, but in fact it has been printed.
The original computer graphic information
(designed by the artist) is passed to the printer,
which uses a thick, glue-like liquid plastic that
is organized into thin layers, each placed on
top of the previous until the form takes shape.
Dyrhaug, who has extensive training in iron
and aluminum sculpting, coats the surface with
an iron metal coating and acrylic paint after
cleaning up any excess print material left on
the object. Although it may seem very different
from a traditional woodcut, this process is very
much like a multiple-color print where one
color must be printed over another.
From woodcuts to three-dimensional
prints, printmaking has evolved with new
advances in technology and to meet the needs
of creative artists. These radical changes in
the printed form may signal future trends in
art production.