Works – M A Rosner

Hi I'm studying art & design at the University of Michigan Stamps School of Art & Design. This is an growing collection of my final work through present day.

[marosner]

Machine and Marker by M A Rosner

Machine and Marker is a series of drawings inspired by pen plotter machines, the early computer printers of the 1960s. Pen plotters work by reading digital line drawings and translating them into the computerized movement of a pen across a flat piece of paper, creating clean line drawings. I am intrigued by the simplicity of the line drawings pen plotters produce, however, their simplicity often lends best to utilitarian communication of information–what you see is what you get.

The Machine and Marker series works to challenge the simplicity of line drawings by exploring the line's ability to communicate complex imagery, illusions, and textures. Lines lose their singular identity and converge and intertwine with one another to create something much greater than its part(s).

[marosner]

Machine and Marker by M A Rosner

Machine and Marker is a series of drawings inspired by pen plotter machines, the early computer printers of the 1960s. Pen plotters work by reading digital line drawings and translating them into the computerized movement of a pen across a flat piece of paper, creating clean line drawings. I am intrigued by the simplicity of the line drawings pen plotters produce, however, their simplicity often lends best to utilitarian communication of information–what you see is what you get.

The Machine and Marker series works to challenge the simplicity of line drawings by exploring the line's ability to communicate complex imagery, illusions, and textures. Lines lose their singular identity and converge and intertwine with one another to create something much greater than its part(s).

[marosner]

Machine and Marker by M A Rosner

Machine and Marker is a series of drawings inspired by pen plotter machines, the early computer printers of the 1960s. Pen plotters work by reading digital line drawings and translating them into the computerized movement of a pen across a flat piece of paper, creating clean line drawings. I am intrigued by the simplicity of the line drawings pen plotters produce, however, their simplicity often lends best to utilitarian communication of information–what you see is what you get.

The Machine and Marker series works to challenge the simplicity of line drawings by exploring the line's ability to communicate complex imagery, illusions, and textures. Lines lose their singular identity and converge and intertwine with one another to create something much greater than its part(s).

[marosner]

Machine and Marker by M A Rosner

Machine and Marker is a series of drawings inspired by pen plotter machines, the early computer printers of the 1960s. Pen plotters work by reading digital line drawings and translating them into the computerized movement of a pen across a flat piece of paper, creating clean line drawings. I am intrigued by the simplicity of the line drawings pen plotters produce, however, their simplicity often lends best to utilitarian communication of information–what you see is what you get.

The Machine and Marker series works to challenge the simplicity of line drawings by exploring the line's ability to communicate complex imagery, illusions, and textures. Lines lose their singular identity and converge and intertwine with one another to create something much greater than its part(s).

[marosner]

Machine and Marker by M A Rosner

A new series of large-scale drawings that explore the limitations, aberrations, and challenges created when the machine and marker are deployed to draw.

The more drawings I produce, the more conscious I become of the variables of marker dryness, line density with marker depth, optical illusions as lines converge, and overall drawing composition as it connects two the growing series.

The machine is a ZÜND G3.  The marker is a Sharpie black fine-point.

[marosner]

Machine and Marker by M A Rosner

A new series of large-scale drawings that explore the limitations, aberrations, and challenges created when the machine and marker are deployed to draw.

The more drawings I produce, the more conscious I become of the variables of marker dryness, line density with marker depth, optical illusions as lines converge, and overall drawing composition as it connects two the growing series.

The machine is a ZÜND G3.  The marker is a Sharpie black fine-point.Sharpie Permanent Fine-Point MarkersSharpie Permanent Fine-Point Markers

[marosner]

Outlets by MARosner

PROCESS

The Outlets series challenges the traditional process of woodblock printmaking by introducing digital technology into both the image generation and the carving process.

In traditional woodblock printmaking, blocks are carved by hand with sharp carving tools; paper is then pressed onto the carved and inked blocks transferring and printing the image onto the paper.

This series explores a digital carving process by which vector-driven laser cutters etch the images into the woodblocks. This process achieves more precise images, compared to hand-carved images, while retaining the aesthetic qualities of traditional woodblock printmaking.  Combining this technology and medium enables more controlled experimentation with line weight and line matrices.

WHY OUTLETS?!

Ever stick a fork into an outlet? ..An electric toaster into a kiddie pool? Ever plugged a piece of cheese into an outlet?

This series explores what happens when random objects and electrical outlets make love. Or try to.

[marosner]

Gradient Voids (Explorations) by Matt Rosner

Woodblock prints using laser cut stencils and split rolled inks.

[marosner]

Outlets by MARosner

PROCESS

The Outlets series challenges the traditional process of woodblock printmaking by introducing digital technology into both the image generation and the carving process.

In traditional woodblock printmaking, blocks are carved by hand with sharp carving tools; paper is then pressed onto the carved and inked blocks transferring and printing the image onto the paper.

This series explores a digital carving process by which vector-driven laser cutters etch the images into the woodblocks. This process achieves more precise images, compared to hand-carved images, while retaining the aesthetic qualities of traditional woodblock printmaking.  Combining this technology and medium enables more controlled experimentation with line weight and line matrices.

WHY OUTLETS?!

Ever stick a fork into an outlet? ..An electric toaster into a kiddie pool? Ever plugged a piece of cheese into an outlet?

This series explores what happens when random objects and electrical outlets make love. Or try to.

[marosner]

Two stage silicone injection molding from a 5-part CNC routed plaster mold. Embedded batteries and chip.

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Fluorescent 1   The newest layered cardboard lighting piece in the series of Corrugated Works.

This lighting piece was designed in illustrator, cut on a ZUND system, and glued together by hand. (~300 layers in total)

Spring 2014

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Controlled Splatter Series by Matt Rosner

The Controlled Splatter Series is rooted in curiosity and experimentation; creating and reproducing delicate splatter texture through stone lithography and photolithography. The series is just as much about the process of preserving momentary splatter as it is about the beauty and visual complexities found within the texture. 

[marosnerpr]

[marosner]

Controlled Splatter Series by Matt Rosner

The Controlled Splatter Series is rooted in curiosity and experimentation; creating and reproducing delicate splatter texture through stone lithography and photolithography. The series is just as much about the process of preserving momentary splatter as it is about the beauty and visual complexities found within the texture. 

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Plate Lithography Process: Exposing photosensitive plates with speckled sumi ink on transparent film.  The positive and negative shapes were sourced from wasted cardboard material found in local recycling bins.

Print 1 – Monocromatic two-plate lithograph Print 2 – Two Color two-plate lithograph Print 3 – One plate, one color plate lithograph composite Print 4 – One plate, one color plate lithograph composite

[marosnerpr]

Rocking Clock - Full handmade prototyping process. (Spring 2014)

Task: Take a preexisting electronic device with a parting line, remove one part of the device, and create a new mating part to the device by hand.

Process:

Find a device

Measure the device and establish ideas for new part

Cut and sand MDF block into the buck (on right - bottom photo)

Thermoform 1/8” XPS (Extruded Polystyrene) over the MDF Buck

Modify the XPS shell (middle - bottom photo) to include ribs, bosses, and registration tabs

Fill and sand XPS Shell (Master Pattern)

Pour 2-part silicone mold with white master pattern (upper left - bottom photo)

Hand inject urethane into the silicone mold creating identical reproductions.

Sand, paint, more sanding, more painting.

Fit the new bottom piece on to the original clock.

Further Applications: working on a new light bulb base project in June that will use the mold making sensibilities to make 2 part plaster molds.

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Roundabout Formal Study - Cyanotypes, Chipboard & Paper Stencils - Winter 2013

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Tessellation Exploration | Lasercut Triangular Pyramids | Winter 2014

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Bell/Hive | Corrugated Works | Winter 2014