My two images are on photopolymer plate. The artwork used graphic pencil & rubbings. I often wash out the plate slightly longer than usual to give it a deeper etch, although it means the plate will be 'tacky' and need extra time to harden. It would not be suitable for all images but works well in the 'Mythical Boats' series. The positive side of washing the plate as I do means a more lithographic effect which is pleasing as I am not interested in photorealism or a 'photo' of my work. I printed the two images on Arches dry paper, a personal choice in the final printing of these particular works. Often I choose wet paper to hold more plate tone.
BODY OF WATER.
Photo etching on copper.
Jennifer Page lives in Carolina Beach, NC USA & has a Bachelor of Fine Art - Printmaking, East Carolina University, Greenville, NC. She established Cape Fear Press in 2001 & was the first to distribute a photopolymer to artists that is designed for high resolution etching while being compatible with traditional etching techniques. Cape Fear Press is constantly experimenting with & innovating the photo etching process for performance, safety & economy.
Digital Chine Collé
I am basically a self taught artist, & as such spent most of my "art career" in the field of ceramics. I started with pottery in 1979 & went into it full time when our youngest child graduated from High School in 1982. From 1982 to 1994 I was a self, and at times family, supporting potter with galleries across the United States. During this time I also participated in yearly juried Art & Craft Shows and 5 Gallery shows.... 3 of which were group shows & 2 were two woman shows. All were in the Seattle area. Since giving up full time potting (arthritis) I have turned to printmaking. Though I have been in several shows.... EFFA Juried Show 1996,1998, & 1999; Mercer Island Show 2000; Burian Center Show 2001..... I consider myself to be a rank amateur..... with an incredible amount to learn about the craft & a lot of experimentation to do.
Overprinted 2 Solarplates.
Ron Pokrasso owned & directed Graphic Workshop in Sante Fe, New Mexico for 11 years. He has been a moving force in the expansion of the monotype process, teaching hundreds of workshops as well as using printmaking & painting for his own self expression. His high energy approach to teaching with a "jump in" approach coincides with his own imagery. His work is exhibited internationally & is represented by the Delony Newkirk Gallery in Sante Fe. He is the founder of the "Monothon" a series of nationwide events that promote the monotype process & assist in major fund raising. His international venues include residencies in the United States, Scotland & Ireland.
John Ryrie was born in Melbourne, Australia. He studied BA at Monash University, Gippsland Campus; BA at Victorian College of the Arts; Mid-Year Award, Victorian College of the Arts. He has had many solo exhibitions, has done residencies in the University of Tasmania, Launceston & Hobart Tasmania as well as the James Cook University, Townsville, Queensland.
Fabriano Rosipina Paper.
Nik Semenoff is a resident of Saskatoon, Saskatchewan. An accomplished artist, printmaker, goldsmith, educator and inventor, he revolutionized modern lithography & invented a number of new printmaking processes, in particular the waterless lithographic process. His discoveries & research have been presented at international academic conferences, published in academic journals & outlined on a popular web site. As an artist, his work has been commissioned & exhibited internationally, & has been included in major collections. He served as Artist-in-Residence & a member of the faculty at the Department of Art & Art History at the University of Saskatchewan. For further information on Nik's ideas regarding safer printmaking go to Nik Semenoff on Safer (And More Interesting!) Printmaking(I)
Printed by Paul Smith
Artist: Colin Lanceley
Paul Smith is a master printmaker who has been working as an artist/printmaker for over 20 years. During this time he has worked with a range of techniques including etching, silkscreen, collagraph & woodblock printing. He works with well known Australian artists, including Arthur Boyd, Charles Blackman, David Boyd, Frank Hodgkinson, Annette Lodge, Wendy Sharpe, Colin Lanceley & Margaret Olley, producing limited edition prints.
For the last ten years the technique I have used is a form of collagraph printing. I ink the plate up as for a relief print, using rollers, which allows me to use up to eighty colours in an edition with very little contact between the ink and my hands. For texture on the plate use acrylic gel medium which is fast drying & non-toxic. I use MDF board for the plate & all the carving is done outside so the dust is kept to a minimum and outside the studio. I use cooking oil for cleanup. There is no turps, acids or toxic solvents. One wall of the studio is a bank of louvres and there are double doors which open up to allow the air to flow constantly through. Rubber gloves are used for cleaning up & an orange based hand cleaner is used for cleaning hands.
Mezzotint with Chine Collé.
In the mid 80's I became seriously sick due to the chemicals I was working with. After a few years it was clear that part of it was caused by cleaning up with terpenes (white spirit). In 1994, I was given a sample of VCA and found out it could do everything white spirit could do without being volatile (thus not harmful to brains & nervous system). I had become allergic to terpenes, which limited my possibilities in printing. The VCA made it possible for me to work freely again. The other problem was etching zinc with nitric. I had a strong doubt about it and in 1997 it was confirmed that my body was intoxicated by nitrate compounds, due to etching for years with nitric acid. I had already been looking for alternatives, especially for turning a series of abstract compositions into prints. I tried several techniques before I came up with mezzotint. The mezzotint served my artistic goals as well as being safe for my health.
The etching was still a problem. Tests with alternatives had not been successful & I still used nitric occasionally until in 1999 I came across etching zinc with copper sulphate. The technique was developed by Cedric Green, & he advised me personally on several technical aspects. As with the VCA, copper sulphate does not produce aggressive vapours. Etching with zinc in copper sulphate produces the same results as if done with nitric.
SIGN OF LIFE #13
Jed Thomas is a painter & printmaker who works in Portland, USA. His work "Sign Of Life" was one work in a collection of prints sent to Australia as an exchange exhibition between Australian printmakers & the North West Print Council. The exhibition was shown in early 2003 at the Wollongong University & the Warringah Printmakers Studio Gallery.
TRACKS OF TIME
Scanned Photo Negative,
À la Poupée/Intaglio/Relief.
After completing his M.A. at Adelphi University, Dan Welden studied printmaking with Kurt Lohwasser at the Academy of Fine Art in Munich. He has had 51 one person shows & over 175 group exhibitions. He has bee an invited speaker & workshop director at more than 75 universities, art schools, & museums throughout the world. The recipient of numerous grants & invitations, he was awarded the Queen Elizabeth Arts Council Grant for visiting artists in New Zealand & coordinated printmaking activities with Aboriginal peoples in the Amata community in Australia. He co-authored, with Australian Pauline Muir, Printmaking in the Sun.
INSIDE OUT, OUTSIDE IN
Gosia Wlodarczak was born in Poland. She settled in Perth, Western Australia in 1996 & since that time she has held solo exhibitions, participated in many group shows, & won awards for both printmaking and drawing.