Working with Atlanta printmaker Jamaal Barber, Emory students created a series of prints emphasizing Second Helpings Atlanta‘s message of love and compassion for the hungry. Read more about the project here.
Below, explore a selection of the 100+ prints made for Second Helpings.
Second Helpings Atlanta
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Monday, April 30 was the grand unveiling of this year’s final projects! Held at the Center for Ethics, the event was a great success. After a half-hour of mingling and viewing the poster exhibit, each student group and artist presented their final works and reflected on their experiences over the semester. Representatives from each nonprofit were also in attendance, and shared their hopes for how these projects will help promote their work in the future.
Documentary Group: Madelon Morford, Vivien Yang, Anne Pizzini, and Will Rogers
Group One: First Step Staffing & Melissa Alexander
Group Two: Second Helpings Atlanta & Jamaal Barber
Second Helpings Atlanta
Group Three: GEEARS & Tara Olayeye
Main project pages:
All posts from the 2018 class:
Students and artist Jamaal Barber went to the Atlanta Printmakers Studio to create their poster series for Second Helpings Atlanta!
By Madelon Morford
For this social activism project, each student was tasked with coming up with a slogan that they felt represented and reflected the mission of their organization, Second Helpings Atlanta. The mission behind Second Helpings Atlanta is to “drive out hunger 1 mile at a time”. Their website states:
90 minutes a month, that’s how long it takes to pick up and deliver a car load of nutritious food to those in need. In December 2017 Second Helpings volunteers had rescued over 1.4 million meals for hungry people in Atlanta, increasing their meals 13% since 2016.
The three driving methods that Second Helpings focuses on for driving positive change are: 1. Communicate, Convene, Collaborate, 2. Advocate, 3. Research and Innovate. By educating, informing and mobilizing stakeholders, the volunteers are able to ensure that all Georgia families receive the economic, community, and health benefits that are important, especially during the prenatal stage of pregnancy and the first five years of a child’s life. Through advocacy, the organization works for effective policies that support high-quality learning and healthy development. All of this is done through the support of evidence-based practices and research.
More posts from this group:
To begin, the artist applies a stencil to a piece of fabric stretched over a wooden frame. The stencil will then block all openings except the image area. A sheet of paper is placed under the screen a coat of ink is applied on the top. The artist pulls the ink across the screen with the squeegee, forcing the paint through the open areas and onto the paper below.
Preparing the Screen
Screen printing requires multiple steps. Preparing the screen is the first step. To do this, the artist takes a fine mesh fabric, such as silk, polyester, or cotton and sizes it to the frame. Excess fabric is cut away, and the edges are taped to prevent ink from leaking on to the surface. The screen is now ready for an artist to apply the stencil. There are a couple different methods artists can use to get the stencil onto the screen. These options include the block-out transfer method, the photographic transfer method, or the cut stencil transfer method.
In this image, you can see that Baker is rinsing the screen with a high-pressure spray that washes away on exposed or soft image area from the stencil that was created. The finished screen is then ready to print with paint.
Printing the Image
After transferring the image onto the screen, the artist places the screen in a clamp inch to facilitate the printing process. The original design is directly positioned under the screen and the artist marks with tape the spot where the paper should be consistently placed.
In a smooth movement, the artist pulls the ink across the surface of the screen with a squeegee, forcing the ink through the openings on the screen. This method allows the artist to use quick and repetitive motion. In between the strokes, the artist uses a backhanded stroke, call the ‘flood stroke’ to prevent the ink from drying out and blocking the imaging area of the screen. If an artist wants to use multiple colors they will utilize additional screens. After the print of the original image has been printed and the ink is dry, the artist positions this dried print under a second screen. The finished print would be the product of the two screens combined after the artist uses the colors of ink that they want and stretch it across the screen with the squeegee.
The Second Helpings Atlanta Group chose to work with artist Jamaal Barber.
Jamaal Barber, printmaker
Jamaal Barber is a creative imaginative soul who was born in Virginia and raised in Littleton, North Carolina. At a young age he was fascinated by the aesthetic images and vivid illustrations in children’s books and comic books. He soon started creating images of his own on the back of his textbooks in elementary school and on any other material that he could find. He finally answered the call to become an artist after reading about the legacy and life of Romare Bearden in high school.
In 2013, after seeing a screen printing demo at a local art store, Jamaal started experimenting with printmaking and made it his primary focus. His fine art can be seen on display at the ZuCot Gallery. It has also been included in the Decatur Arts Festival, Atlanta Print Biennial Show and at various art shows around the Metro Atlanta area. Additionally, Jamaal has done print work for Black Art in America and Emory University.
In 2004, Jamaal moved to Atlanta, GA where he now resides with his wife and two children.
Find Jamaal online at http://jbarberstudio.com/ and on Instagram at @jbarberstudio. You can also purchase his artwork at his online shop.
Keep scrolling for a selection of his artwork.
Read more about the Second Helpings Atlanta project: