Rough Cuts: Techne from Neoclassicism to Postmodernism

Pender, Kelly. Techne: From Neoclassicism to Postmodernism: Understanding Writing as a Useful, Teachable Art. Parlor Press 2011.

  • relationship between techne and the development of rhetoric and composition as an academic discipline in the mid-twentieth century the influence of postmodern theory on that development what we don’t often teach/don’t teach under the rubric of “writing” in contemporary comp courses (3)
  • defending techne as a way to understand and teach writing
  • from Greek tekhne – no approximate in English, so likened to art, skill, and craft – but none of these embrace the whole complex structure, so when we use any of these, it is only a part
  • art-fine art
  • craft-more utilitarian
  • created confusion in the circulation of art in the rhetoric community
  • what connects techne to art, skill, or craft?
  • all a process of making – producing
  • poeisis – the act of bringing something into being; techne is a form of poeisis that follows a course of reasoning (one that can be studied, systematized and taught), has its origin in a maker (work toward something knowable), is concerned with things that can either be or not be (to locate in a world of contingent), and locates its end outside of the process of making in the use of the thing made (in a category of activities that are meant to accomplish something in the world) (5)
  • the base techne served in establishing research and legitimacy to the growing field of rhetoric and composition – a sturdy but narrow foundation (6-7)
  • composite definitions of techne:
  • techne as a “how-to” guide or handbook: absence of theoretical discussion is primary deficiency; serves as a technique to be applied or examples to be mimicked – not addressing what causes rhetorical success and failure (17)
  • techne as a rational ability to effect a useful result – a state of capacity to make; end of techne is instrumentally valuable in the use made of its product (21)
  • techne as a means of inventing new social possibilities – capacity to challenge status quo “mark the shifting and contestable borders of what is possible” (qtd. Atwill 27). makes techne situational (agile practitioners in situation, bodily implications less strict)
  • techne as a means of producing resources –  production never ends; every product becomes means for another round of production (31); risk of mere instrumentality (utility and usefulness become standards of judgment) – technology driven (making things with tools in opposition with the natural)
  • techne as a non-instrumental mode of bringing-forth – bringing forth of something from concealment to unconcealment; doesn’t fall on opposite end of the spectrum as fine art (35)
  • techne’s prominent and problematic features: its association with instrumentality and its emphasis on teachability – “And what happened once they began pointing out how theories of writing that privilege it teachable dimensions, which is to say its rational dimensions, often ignore its non-rational, material dimensions? (10)
  • “After all, if I want to establish techne’s value as theory and pedagogy of writing, then I need to demonstrate that it is not the semantic equivalent of an inkblot” rhetoric rorschach test (14)
  • definitions of techne exist on two continua: epistemological – definitions of techne establish different criteria for what kinds of knowledge can count as technical knowledge and axiological – the end of a particular techne always resides in the use of its products, not in the activity of producing them (15)
  • techne as a decontextualizing form of knowledge (20)
  • techne | knack (22-24)
  • “the artist’s ability to make universal judgments that allows her to take a specific situation into account” (25)
  • results as valuable as products (stable materials) or conditions (unstable materials)
  • taking the situation into account requires the ability to modify one’s plans for achieving a part. end, but also the ability to redefine that ed as the situation dictates (26)
  • maker | user exchange (bottom of 27)
  • new social possibilities from an exchange of power or of cultural critique (27)
  • techne as delusion or deception
  • subversion
  • experiential knowledge in terms of street smarts (not embodied knowledge) – lived experience that allows you to get around in the world how it circulates, what we value, economy of knowledge
  • techne as dangerous to social order (28, Greeks)
  • dolie techne “trap art” (28)
  • embodied knowledge to respond to kairos (29) –  ability to recoginize oprtune moment ingrained in being and body
  • techne creates opportunities for cultural critique by making tacit social practices explicit (qtd. Atwill and Lauer 30)
  • “when a boundary between insider and outsider is marked-when agents who have not been socialized into the practices of certain rhetorical situations must learn by art what those who have been in those situations have done by habit” (qtd. Atwill 30)
  • only when practices are made explicit to teachable strategies can values, subjectivities, and ideologies that operate within them can be examined/critiqued and then revised or replaced to better (30) – otherwise conditions continue to appear natural “immutable structures of reality and truth” instead of particular constructions (31)
  • frankfurt school: issues of reproducibility
  • “man the user” (33): solution to problem by shifting attention from utility to user (but problem: maker is lost; gets swept up in capitalism) – at industrial scale
  • techne ussually pitted against nature/ntural world
  • telos: predetermined end (other three cause: material, efficient, and formal)
  • coresponsibility of four causes ditinguishes techne from instrumentality
  • post-techne (Hawk): writers are embedded elements of complex situations who work through the power of embeddeness to work with nature (not independently working on it) (37)

 From Derek’s blog on Bogost’s “Carpentry” and our reading discussion series:

“[W]hy do you write instead of doing something else, like filmmaking or macrame or sumi-e or welding or papercraft or gardening?” In this context (and in this contrastive framing), writing is something of an attention or activity hog. It gets overplayed in the liberal arts; it gets over-valued in exceedingly strict economies for tenure and promotion. According to the chapter, these are cause for concern because 1) “academics aren’t even good writers” (89), and 2) writing, “because it is only one form of being” (90) is too monolithic a way of relating to the world. I generally agree with Bogost’s argument that scholarly activity should be (carefully!) opened up to include other kinds of making, but I’m less convinced that the widespread privileging of writing is the culprit here. It’s fine to say that academics aren’t good writers (though I’m reminded that we should never talk about writing as poor or problematic without looking at a specific text/unit in hand), but why would they be any better at “filmmaking or macrame or sumi-e or welding or papercraft or gardening” or coding APIs? So while I’m interested in the call for an expansion of what can be considered scholarly activity, it remains unclear to me why writing should be at odds or brushed aside with that expansion. Instead of “Why do you write instead of doing something else?”, I would rather consider “How is your writing and making and doing entangled?

  • Is this where Hawk’s post-techne (post-humanism) comes into vision – the entanglement? Hawk isn’t OOO (is he?), so what does it mean for invention to view people at he level of other materials for techne?
  • what is available as material?
  • that the materials may lead to invention (working in an opposite direction to a traditional approach of writing in which writer defines and responds to situation systematically/accordingly)
  • closing down vs. opening up
  • sophistry (122)
  • narrow view of techne reduces it to teachability too narrowly and ignores some of its most important defining features – dependence on time, circumstance, experience, the contingencies of human interaction, and the situational potential of rhetorical ecologies (123)
  • offical aritsotle: meand and ends are distinct, and its the end that’s valuable – not the means
  • “The official version of techne we are left with then is one in which the artist devises, initiates, and controls the changes that will turn the presumably inert materials into a predictable final product”
  • product of art happen in their own accord (130) – collapses divide between art and nature
  • activity a strategic detour (131) – diminishes impact on the process of making (131)
  • does techne not work because of its history? what would be the consequence of reterming? same impact as techne? – Pender is defending the term: instrumentality and teachability it posesses
  • closing down vs. opening up (140)
  • teaching writing as writing (140) as a techne, which is a form of poesis – productive knowledge that engages its user in the process of making
  • “writing both locates us on the threshold between the known and unknown and intensifies our experience of being here” (141)
  • creative writing, invention as “archeological topos” – a course in metawriting
  • “Historically, we have valued techne because it focuses our attention to external goals; or to put it more precisely, we have valued techne because it allows us to align writing with particular external goals” – techne as a bringing forth allows students to write as writing to achieve an external goal
  • a focus on external goals overlooks the thingness of writing

Screen Printing: Experimenting with Layers

I decided to experiment with technique before committing to designing and making a new print that relied on layering, in case it failed. I tried to divide my screen this time to utilize the space, and consequently time it takes to print. The screen is much larger than any of the prints I’ve made, so I thought for a multi-layered print, I would lay out each of the components on one screen. I’ve seen this division of the screen surface before in images and video of people printing, but they use painter’s tape, which I didn’t have. I tried using Scotch brand washi tape, which didn’t quite do the job of painter’s tape (which I’ve subsequently bought). I made a pond design (really an oval) on one part of the screen and simple tree shapes on the other part using drawing fluid. This was the first time I used my new brush set, and while it gave me better variance to choose from, ultimately, the medium of the drawing fluid is difficult to control (it is sort of like painting with Elmer’s white glue – it oozes and doesn’t allow for very fine detail). I printed the pond base on paper using red ink and printed my first layer of trees using black ink. I let this dry and put on another layer of the pond print, but this time I mixed transparent base in with the ink so that the first layer of black trees would show through. After the second pond layer (with transparency) dried, I added another layer of trees in between the first layer.

The transparency kind of worked, that is, the first layer of trees can be seen through the red pond layer, but the experiment print looked rough in the sense that I didn’t have control over what I was doing while making the print. I feel conflicted about this, especially realizing at the Salt Market that I am comparing my prints to prints made with another technique that is not dictated by the precision (or lack thereof) of one’s design capabilities done by hand. I have no doubt that people who are skilled graphic artists can create fine detailed prints with drawing fluid by hand, but it feels a little like comparing a handmade (and thus rough for lacking machine controlled “perfection”) thing with something that has been largely made by machine, though still handmade. Screen prints using the photo emulsion technique still need to be designed on the computer or whatever before they are set onto a screen to be printer, but they use tools and techniques (photo programs or photo images) that I cannot make on my own. My lacking design skills are keeping me from making the prints I want; my designing must improve. I found myself thinking of Ruskin and the imagination of the craftsman – maybe I need to be in an environment where I can be inspired by nature. Instead of trying to develop design skills of hand that work with computer programs, I need to find material that I can represent (and appreciate it as having charm in its roughness).

While this print brought new perspective to my process, it also killed my screen. This is my fault entirely as a neglect for my tools; I let the screen sit an entire busy day without cleaning it. I worked on it, but to no avail. The ghost of my last print lingers on he screen. I thought about continuing to print with it, but this screen is now “art” for the apartment. As a means of laying out a design, it obscures too much. And as is evident in the field of the pond, taking it to the car wash destroyed the network of the screen leaving gaps that disrupted the even distribution of ink. I bought a different screen at The Art Store that I look forward to using in making my midterm project. I’m still looking into what makes it feel different – it is not a Speedball brand, the screen is of different mesh size, is yellow, and seems to have a more rigid taut nylon feel (more like plastic) than the soft screen I was using. While purchasing the new screen, I asked advice of an artist there that printed on how to clean screens, since I continue to have trouble. She seemed baffled by this, as seems to be the attitude of seeking answers to this issue, responding that she’s never had trouble cleaning screens. I’m left in the dark. I don’t know what the mystery is behind cleaning a screen, but I’m at a loss for any other elements I can change in my work and material environment. This makes me feel a different type of failure than that of my design capabilities – who would have thought that cleaning up would be the most difficult part of making? It leaves me wondering what I don’t understand about my materials, primarily time it takes for them to set, how long they can sit, and how long it should take to care for them in cleaning. What I wouldn’t give to be able to observe a master printer in their own workshop and washtub.

Craft Guilds

“Circulation of Skilled Labor in Late Medieval and Early Modern Central Europe” Reinhold Reith

Reading Reith’s framing of the history of tramping (period of traveling journeymen of a craft undergo), guild structure, a sort of mapping of region and craft, and the circulation of tacit knowledge and technology left me feeling surprised that really, up until now, I was thinking of craftsmanship as locally fixed. We’ve read a little bit about the tensions between man and machine locally – that is within a craft or a craftsman with a craftsman body, and I suppose I wasn’t thinking beyond this local node, or between local nodes globally. It seems silly to recognize that certainly knowledge, even tacit knowledge, has influence from beyond the local in terms of technique, technology, and materials. Reith’s summarizes his historical gloss as follows:

  • guilds were omnipresent
  • it was difficult to prevent skilled labor from moving around (beyond local)
  • the impossibility of stopping skilled workers from moving had consequences for the diffusion of technology – skills and knowledge (interested in his definition of technology)

I’m particularly interested in the diffusion of technology. Reith explains

“highly mobile journeymen were a significant force of technological diffusion…[Whereas] forced migration [of masters] helped transfer technology across linguistic and national, although probably not religious boundaries, journeymen’s travels were mostly restricted to areas that were institutionally and culturally more homogeneous, and were thus instrumental in shaping technological pools. By contrast… ‘unfree’ highly regulated markets, and in particular the labor markets of the crafts, blocked the spread of innovations through journeyman tramping: no master was willing to disclose workshop secrets and innovations were unwelcome” (131)

Reith works to make this look at circulation more nuanced though, seeming to focus on illuminating that “forced” was actually more voluntary; journeymen traveled with the objective of gaining technical experience with the intention of returning (131). He explains, with examples in different crafts, that “The recruitment and enticement of desirable specialists occurred across territorial and linguistic barriers in every sector” (133); journeymen traveled to cooperate with large numbers of masters (men and women), other journeymen and apprentices; learned about regional differences in work organisation; and came to recognise different practices, raw materials, and products in their journey. Reith notes that there was potential for failure in this traveling, or migration due to technical, economic, social, cultural, and religious reasons (even to the extent that some journeymen could not return). Reith describes the diffusion of technology in these journeymen’s travels as taking the form of radiation, acquisition through imitation (“imperceptible”) and by migration (“spectacular”) sometimes coercion (132). Reith describes that patterns of mobility varied from trade to trade, but late medieval and early modern skilled workers were highly mobile (141) with the emphasis on acquiring technology to improve craft. But, some crafts were closed to diffusion; not permitting migration of journeymen in or out of a guild resulted from attempting to protect the primacy in a craft; however, in working to conceal what is being made from outside craftsmen, the making cannot be influenced by outside craftsmen  – no new techniques.

I’m interested in the diffusion of technology in terms of technique in the circulation of journeymen and its relationship to tools and its relationship with technological advancement and machinery. I also found myself wanting visualizations of “primary” or “origin” crafts and their form/technique/materials over time/space as influenced by diffusion – a leather glove had a certain type of stitching in France until a journeymen observed and developed the technique of stitching used in Switzerland for X reason – what does the glove look like then? A blend? Something different in the combination of elements? I’d be curious to see this diffusion (and traces to place/people/technique would be really neat).

After reading, I was browsing the web for guilds and came across an exhibit on display at The Smithsonian’s National Museum of Natural History: “Mud Masons of Mali”. The exhibit is described on its page as “featuring photographs, original films, objects and tools, tell[ing] the stories of one of Africa’s most celebrated ancient architectural traditions, and it highlights the different challenges masons face today to hold on to their craft in the 21st century”. I thought that this might function as an example of diffusion. There are two short videos about the mason work from the perspectives of the masons, particularly their craftsmanship and their work on the Djenne Mosque – The Great Mosque. Each year, the community gathers for the application of a new layer of mud over the mosque. This is following the traditional technique and tools (much work depicted is done by the hand – hand as tool) of the Boso, described on the Smithsonian site as “a centuries-old craft guild that fosters and oversees the art of mud construction. Techniques and traditions are handed down between generations of masons as young laborers strive to become apprentices and, eventually, after years of perfecting their art, master masons.” The videos show the training and skills needed to build and maintain mud architecture, but illuminate the “contemporary political and environmental challenges mud masons encounter as they struggle to preserve their historic city in the face of modernization”. The Master Mason explains that the masons are striving to maintain traditional building styles while meeting the demand for bigger buildings with more conveniences – indoor plumbing, and painted and tiled portions to reduce upkeep of the mud (the process requires the entire community in part). I wonder where diffusion plays a role here in the desire for “contemporary” (to put it loosely) buildings. But a more striking example is told from the Master Mason in response to the restoration work done by UNESCO workers on the Mosque. In 1988 The Mosque was deemed a UNESCO World Heritage site – as a representation of one of the most impressive mudbrick buildings in the world (constructed in 1907). Internally, as described by the Master Mason, there were many hidden cracks that needed to be mended. But the work of the UNESCO workers, he describes as “European” – what does diffusion mean here? Although the materials (not certain of the tools) were the same as the Boso have used, the technique is different. As shown in the video, The Mosque goes from having more rounded shape as a result of applied and shaping mud by the palm, to having more rigid edges (a different technique and aesthetic – the building has changed). I wonder about the exchange of knowledge and technology between the UNESCO journeymen and the Guild of the Boso.

hand(s) tool

In making this last print, I became aware at how much I used my hands to print:

  • to draw the design with pencil
  • to stir and apply the drawing fluid with paintbrushes of different sizes
  • to touch the fluid to ensure it dried
  • to stir and apply screen filler with a paintbrush
  • to ensure the screen filler is dry to the touch
  • to gauge the temperature of water, cool, to rinse out drawing fluid and to use the fingers as a brush to help remove the drawing fluid
  • to dry the screen while making sure the screen filler is still set
  • to measure and cut papers to print on
  • to mix and apply ink
  • to draw ink over the screen with the squeegee, ensuring thickness is even
  • to hold the paper under the screen in place during the printing
  • to lift the screen steadily while holding the paper in place to prevent smudging
  • to open seals
  • to wipe drips
  • to clean – to apply screen cleaner with a wide paintbrush on both the front and back of the screen; to run hot water while scrubbing to remove screen filler (hot enough to break down the filler, without burning my skin)

Taking inventory allows me to gain perspective on what the process requires of me. Within each of those steps of the printing process is a calculation angle, pressure, a range of motion. And beyond my hands, how I position my arms, how I hold my elbows, how I bend over my kitchen table to print and over my bathtub to clean the screen. Pulling, pushing, scrubbing, sketching – each a small process unto itself. The movement, the actions of the process are wonder(ful) to me as someone who is learning to screen print through the process of screen printing – the cultivation of technique through embodied learning. I still make mistakes, I still lack precision, but I am printing in so far as I am making products.

Technique has a bad name; it can seem soulless. That’s not how people whose hands become highly trained view technique” (Sennett 149). Technique is intimately linked to expression. Richard Sennett’s chapter on “The Hand” is something I returned to as I felt a stasis in my printing – no visible development from the second to the third print. I questioned what, in the drawing fluid technique, didn’t produce a more skilled print. And while it is difficult to isolate a singular aspect of the process (too much ink, paper that isn’t porous enough to hold the print well), I can think about what I did or did not do. This is learning from the technique of printing – the looking at process and product as isolated and in unison to determine what seems to be “off”. A techniquing of technique.

Transitional objects”, material things that themselves change, what can engage curiosity: an uncertain or unstable experience…In developing technique, we resolve transitional objects into definitions, and we make decisions based on such definitions” (158-59). The materials, despite being the “same” as far as the state that they are in, still have great variance. Thickness, how long something dries, proportion of mixing materials – these keep the process of printing from being “same”. They are always unstable, and have potential for variance, which keeps technique in making in developing – in the process of.

Technique develops, then, by a dialectic between the correct way to do something and the willingness to experiment through error” (160). Despite variance, experience and growing knowledge of properties and actions permit technique. Though I have watched videos and read text directions on the web, I have not learned the “correct” way of printing from a printer in terms of apprenticeship. It is the combination of these web instructions with the material conditions and my (in)capability that foster technique.

We have become the thing on which we are working” (174). This seems odd to me that I don’t think of myself in terms of being a screenprinter, an identity as a craftswoman, but in terms of my screenprints – what I am making as process and product. My movements, my work, are situated in my body by what I am doing. I think about what is possible and limitations in my prints in the making of them; what results, what yields is because of a physical working.

The Craftsman: Material Consciousness and The Hand

While I have been enjoying reading Sennett as a whole, I was excited to read this section of the book given my own area of interest, but found that in this moment of thinking through, I have what I can best call “material scraps” of thoughts.

Material Scraps:

I couldn’t help but think about this Gorillaz song (the track layers masterful hip hop beats with audio of what sounds like someone practicing playing the violin – in the process of learning) in reading Richard Sennett’s chapter on “The Hand”. Sennett describes the Suzuki Method for teaching children to play music – habit as ingrained accuracy (and in the method, applying forms to the children’s fingers in order to get the feel of playing):

“What exactly did I do? How can I do it again? Instead of the fingertip acting as a mere servant, this kind of touching moves backward from sensation to procedure. The principle here is reasoning backward from consequence to cause” (157).

Left Hand Suzuki Method Lyrics

“The most important thing, is listening the recording of the music.
It makes them get um musical sense – and, uh – this is the point of the… fast progress!

“And also, everyday, every lesson
We have to make sure
They’re not lying about tunization!”

In recognizing the name Suzuki, I looked up Shin’ichi Suzuki and the Suzuki method and was surprised at the parallels between the philosophy of the method and the description of the guild apprenticeships Sennett describes in “The Workshop”.

In reading, I found myself trying to think of all the metaphors we use that focus on the hands as a means of making meaning. Hands allow us to learn “hands on”, to “get a grip”, to “get a feel” of things we’re doing. These metaphors then broadened to think of procedural metaphors for learning/obtaining knowledge or a skill – “we learn by doing”. These metaphors show a connection between head and hand, which is then absent in metaphors of rote learning, repetition, and mechanization in learning. I wonder if these were only possible after process and procedure changed with Fordist means of production that distanced/expanded the relationship between hand and head as the process of making something in total.

Richard Sennett: The Craftsman

Sennet, Richard. The Craftsman.  New Haven: Yale University Press, 2008.

Richard Sennett, from Richard Sennett dot com

Richard Sennett, from Richard Sennett dot com

Richard Sennett’s website

About the author, from his Brief Biography

“Richard Sennett has explored how individuals and groups make social and cultural sense of material facts — about the cities in which they live and about the labour they do. He focuses on how people can become competent interpreters of their own experience, despite the obstacles society may put in their way. His research entails ethnography, history, and social theory.  As a social analyst, Mr. Sennett continues the pragmatist tradition begun by William James and John Dewey.”

Describes his works as “cultural studies“, but is using the phrase in an unusual manner to capture looking at how individuals and groups of people “make sense of material facts about where they live and the work they do”.

  • Works from interview and ethnography
  • Centennial Professor of Sociology at the London School of Economics and University Professor of the Humanities at New York University
  • Pragmatist/m: the function of thought is not to represent reality; instead, thought is a tool for prediction, taking action, and solving problems. Knowledge, language, science, and like philosophical topics are viewed in terms of practical uses and successes in action.

The Craftsman

From The Craftsman Magazine archives

From The Craftsman Magazine archives

“History has drawn fault lines dividing practice and theory, technique and expression, craftsman and artist, maker and user; modern society suffers from the historical inheritance. But the past life of craft and craftsmen also suggests ways of using tools, organizing work, and thinking about materials that remain alternative, viable proposals about how to conduct life with skill.”


“The craftsman represents the special human condition of being engaged” (20) in collective, tangible, material reality. But craftsmanship is poorly understood as a reduction to manual skill in a singular being without recognition of value in joining skill and community. Sennett sets out to examine the concrete practices of craft as investigatable – expanding notions of what counts as craft to technology, science, medical and like domains of craftsmen as craftsmanship has become institutionalized. His aims (as we continue reading) are to “explore what happens when hand an head, technique and science, art and craft are separated” (20) through larger issues presently and historically.

Main Argument (thus far)

Craftsmanship, dedicated,  skilled, good work for its own sake (20) that focuses on achieving quality to standards set by a community (25) is now organized in three troubled ways (52):

  • attempts of institutions to motivate people to work well (issues of individual competition, charades of cooperation)
  • developing skill, a trained practice, in environments that deprive people of repetitive, hands on training (a separation of head and hand)
  • conflicting measures of quality in products – one based on correctness and the other on practical experience (pulled between tacit and explicit knowledge)


In a time and global economy of automation and mass production, what is an available means of production that reorients itself as craft – making with a connected head and hand – beyond small enclaves of artisinal and craft counter-movements? (Sennett cites Japanese factories as more successful than Western production based on the collective way of doing, despite the scale and range of production.)

Does Byron Hawk’s post-techne – “the use of techniques for situating bodies within ecological contexts in ways that reveal models for enacting that open up the potential for invention, especially the invention of new techniques” ( “Toward a Post-Techne” 384) in combining technique, the technical, technology, and techne – provide illumination as a means toward solving the problems that Sennett is setting up to work through? What might this look like in action?

Screen Printing: Drawing Fluid + Screen Filler

Influenced by the autumnal weather of the weekend, I set out to create a print of moon phases. For this second print, I wanted to try using drawing fluid. Drawing fluid works to make a design directly on the screen – what the ink is to come through. Screen filler is then applied directly on top of the drawing fluid (once dry) to block any areas of the screen ink is not desired to come through.  Once the screen filler is dry, the drawing fluid is washed out of the screen with cold water, the screen is dried, and ink is applied to make the print.

My work space is the same as with the first print; no additions to the setup. I first sketched my moon phases on the screen with a pencil; I had to think through, in using one ink color, how to differentiate the new moon from the full moon. I decided to fill the new moon circles with drawing fluid, which would allow ink to come through filling the circle, while the full moon would only have a perimeter of ink. After painting my design with the drawing fluid, I turned the fan on to dry the screen more quickly. After sitting around ten minutes, I used my hair blow dryer to expedite the drying process. Once the drawing fluid appeared (and was) dry to the touch, I poured a strip of screen filler across the top of the screen. When working with ink and screen filler in my first print, I poured them directly from the jar onto the screen; this time, I used a spoon from my old silverware set I replaced. This was interesting to me in considering the use of a tool – one not designed for the craft process at hand, but fits a use need. After the screen filler was distributed over the screen with the squeegee, it had to dry. Given the time of night at this stage of the process, I let it dry overnight. When I returned to the dry screen, I rinsed out the drawing fluid with cold water, which came off the screen easily. The screen prepared, I then applied ink (with the aid of a spoon) in a strip across the top, mindful of how much my first print seemed to bleed from using too much ink. I pulled the ink through the screen with the squeegee onto a small piece of poster board. While I think the lines were cleaner (more defined) in this print as to my first, I was not happy with how the design looked once printed as a single layer print. It remains in an unfinished state until my next printing; perhaps to be layered with another design, or to add a second color to this print to give the moon phases more depth and definition.

In cleaning my screen after this print, given my experience with using a full bottle of Speedball cleaner (at a price of $8) that was rather harsh on my eyes, nose, and skin, I wanted to try using detergent – something I read as an alternative cleaner. I began with hot water and dish detergent – no effect. I then tried laundry detergent – no effect. I then tried stain remover for laundry and carpet, and Lysol liquid concentrated cleaner. I scrubbed around fifteen minutes, with no result.

I turned to discussions on the web and read that some people use a power washer, like an outdoor house or the house at a self service car was to clean their screens. We don’t have a hose, so I decided to take my screen to the car wash because it wasn’t coming clean. While the hose seemed to remove some of the screen filler, the screen wasn’t coming clean. After spending ten dollars and seeing only limited results, I decided to turn again to the web. I read that others use Mr. Clean or a product called Greased Lightning. Before heading home I stopped by the grocery store to purchases the cleaners. Once home I tried both independently, but without much effect. At this point, I questioned whether soaking might help the cleaning process. I don’t have a tub stopper, so I blocked the drain and filled the tub with hot water, and a combination of Mr. Clean and Greased Lightning. I weighed down the screen so that it was submerged and let it sit. Returning to it, the screen filler remained.

The next day, I stopped at the Art Store to purchase more Speedball cleaner and to talk to employees there to inquire about any techniques that they might know of. While helpful, they recommended the same series of cleaning products I already purchased, and vouched for the Speedball cleaner. No one had any suggestions as to why the screen filler was more difficult to clean with this print, aside from the cleaners I was using not possessing the same chemicals as the Speedball cleaner. For future prints, I would like to understand what chemical is necessary for cleaning and if there are any other conditions that might influence the cleanup process. The screen is currently sitting in the Speedball cleaner soaking.