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  • Once your proposal submission is received, you will be sent an email to confirm receipt. If you do not receive a confirmation email within 7 days, please contact us to ensure your proposal has been successfully submitted. HKOP and IMPACT 11 team will not be liable for any non-arrival of proposal submission information.
  • If your proposal is selected, at least one representative from your group or organisation should be present at IMPACT 11 for the set up and presentation. If special arrangements or equipment is required, requests must be made clearly in the proposal submission for our consideration.
  • Registration fees should be settled via online payment. Cash and cheques will not be accepted. Registration will only be considered complete once the registration form and payment have been received. Payments not received in full prior to the event may result in entry being denied. No cancellation is accepted. Registration fees for IMPACT 11 are not refundable. If a participant is unable to attend and would like to transfer the registration to another person, approval will be determined by the HKOP & IMPACT 11 team on a case-by-case basis.
  • No responsibility is assumed by HKOP, the organiser or the speakers/authors for any injury and/or damage to persons or property as a matter of product, negligence or otherwise, or from any expectation regarding the event, use or operation of any methods, products, artworks, instructions or ideas presented at the event or contained in the notes.
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Acceptance of all of the above terms and conditions is required in order to register for and participate in IMPACT 11.

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Proposal Abstract

This paper continues to build upon my previous observations of where creative thinking lays within the social and individual layers of print production in relation to ceramics and glass media. I will aim here to extend that thinking towards a discussion of how printmaking technology, in combination with ceramic and glass materials, has a determining influence on visual language and how artists have paid attention to and embraced these factors to form their own visual grammar.

There are many approaches to practice within the ceramics and glass disciplines. Perhaps the most commonly appealing public perception is of those techniques where intuitive, tacit knowledge and experience is more directly affected between materials and artists, such as blowing glass or throwing pots. A very different strand of ceramics and glass practice than that of the blower and thrower is the choice to combine and integrate these materials with printmaking approaches. Printmaking as a practice requires an artist to operate at various removes (1), completing a number of pre-press stages prior to observing the end result. In addition, ceramics and glass are vitreous materials, inherently transformative and when integrated with printmaking remain active far beyond making the impression, through the act of kiln or furnace firing. Alongside the requirement to also adapt thinking to accommodate a three-dimensional substrate, these conditions extend the artist’s ‘removes’ to further extremes. 

These conditions necessitate the artist who is making printed vitreous work, to perform a complex cognitive juggling act where ideas for an image, within the originator’s mind, have to be filtered through mediating conditions. This process of interpretative mediation (2) requires an acquired prescience of the determining effect of the interactions of transformative materials, technology and complex forms upon a visual printed image. This idea of acknowledging a technology’s contribution to the resulting works can be understood as an aspect of Technological Determinism. (3) In this instance rather than the Marxist reading, where technology determines social conditions, it instead relates to the determining syntax (4) of visual language.

To understand this in the context of vitreous printmaking, I will explore some examples, first from the practice of others, then observations from my own research, and beginning with three technologies, that all have a direct relationship with ceramic materials.


(1) Getlein, Frank, Getlein, Dorothy. (1964) The Bite of the Print – Satire and Irony in Woodcuts, Engravings, Etchings, Lithographs and Serigraphs. London. Herbert Jenkins

(2) Chapter, ‘The Role of Interpretative Mediation Within Ceramics and Print Production’, p77 Brown, Steve, The Physicality of Print (2011) PhD thesishttps://researchonline.rca.ac.uk/id/eprint/1134

(3) Ed. Smith, Merritt Roe & Marx, Leo. Does Technology Drive History: The Dilemma of Technological Determinism. (1994) MIT Press

(4) Ivins, William, M. Prints and Visual Communication. (1953) London. 

Routledge & Kegan Paul Limited.


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Academic Paper

Towards a vitreous printed syntax: Developing visual language through printed ceramic & glass media

Steve Brown
Printmaker, Academic, Artist, Printmaker, Academic, Artist
Royal College of Art