doccatalog of the 2015 biennial
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catalog of the 2015 biennial
Acknowledgements The Boston Printmakers wish to thank our distinguished juror Willie Cole for selecting this spectacular exhibit. We are grateful to Lesley University Dean of the College of Art and Design Richard Zauft, Gallery Director Bonnell Robinson and Assistant Gallery Director Andre Mroczek for hosting the 2015 North American Print Biennial in the beautiful new Lunder Arts Center. We especially appreciate their dedication to excellence and enthusiastic support for The Boston Printmakers. Please take a look at the impressive list of material awards from our sponsors and the names of our patrons in this catalog and you will see the many generous ways they champion our efforts to support printmakers and educate the public about the complex world of printmaking. We can’t thank our sponsors and patrons enough for this assistance in support of our efforts. Thank you to the 699 artists from 49 states, 7 Canadian provinces, Puerto Rico and Cuba for nearly 2000 submissions. The number of entries truly represents a passionate response and further expresses the relevance and vitality of contemporary printmaking. I would also like to thank the Board of The Boston Printmakers for their hard work and dedication. They not only pull together the North American Print Exhibition every two years but also our many members’ shows, travel opportunities, website and newsletter. I am continually inspired by their loving commitment to the art of printmaking. Liz Shepherd President The Boston Printmakers Executive Board Liz Shepherd Renee Covalucci Christiane Corcelle Deborah Cornell Susan Denniston Alex Gerasev Eric Goldberg Sharon Hayes Sandra Cardillo Stephanie Mahan Stigliano Marjorie Javan Theresa Monaco Ky Ober Julia Talcott Lois Tarlow Mary Taylor Dave Thomas Bob Tomolillo Malgorzata Zurakowska Vivian Berman – Emeritus Sid Hurwitz – Emeritus The prints in this exhibition are for sale; in many cases, multiple originals are available. Prints may be purchased at the Lunder Arts Center at Lesley University College of Art & Design, or after the exhibition, by contacting The Boston Printmakers, Lesley University College of Art and Design, 29 Everett Street, Cambridge, MA 02138 or by email: [email protected] ISBN 978-0-9910464-2-3 Copyright 2015 by The Boston Printmakers, Inc. The Boston Printmakers 2015 North American Print Biennial The Lunder Arts Center Lesley University College of Art & Design Cambridge, MA 2015 Juror Willie Cole November 8 – December 12, 2015 Juror’s Statement I am an artist who makes prints but I am not a printer. What I mean is that all my prints are collaborative. I show up at a print studio with a concept or sketch and then throw myself at the mercy of the master printers who then execute my ideas. These master printers have been my teachers, both technically and aesthetically. They bring their technical expertise to every project and I bring my vision. That’s what collaboration means. But the real creativity rises when my ignorance crashes into their expertise. And when it does, that’s when I know I’m really doing my job. And what is my job? My job is to push them beyond their scope of knowledge, and to challenge them to employ unorthodox and innovative approaches to printing. With that said I will go on to say that, from the pool of entries for this year’s Boston Printmakers 2015 Biennial, I selected the pieces that inspired me the most. They were the ones that showed the broadest range of possibilities of what printmaking can be. They were the ones that triggered full scenarios in my mind in a single frame without the use of words. They were techniques brilliantly executed. They were stories well told and emotions deeply expressed. In a world where any and all things are possible, it was surprising that narrative story-like images seemed to dominate this year’s entry pool. In a way it felt as if I were selecting films for a festival rather than prints for an exhibition, and that all my selections had to be made based on viewing just one single frame from each film. The parallels with film and print were obvious to me not just in the subject matter but also in the lighting techniques, perspective, and point of view of many of the entries. Surrealism, German expressionism, film noir, Italian neo-realism, magic realism, and photography in general were and apparently still are big influences on how we view and represent the human experience in printmaking, and maybe even in art in general. All the entries both confirm and emphasize that printmaking is the missing link between the so-called fine arts, i.e. painting, drawing, and sculpture, and commercial or graphic arts, i.e. photography, film, type, and illustration. Perhaps that’s what pop art is, too. And if you agree with that then Andy Warhol, arguably the most famous printmaker of the 20th century, must have been Moses. We can blame or thank Andy for taking printmaking to new heights, at least in the marketplace. But the number of print editions he left behind dwarfs the number of technical innovations he achieved. And it’s technical innovation that, in my opinion, makes real winners and really moves a medium forward. With so many entries moving in the direction of storytelling, all or any entries slightly less representational or narrative stood out most. They, more often than not, reflected popular movements in western or European abstraction, and a clear understanding of art history, while at the same time (pursued or not) offered the greatest possibility for the employment of innovative techniques. And new techniques, not just in storytelling but in image execution, in my opinion, is what it should really be all about. I recognize that this is not any easy task. But think about the differences between classical music and jazz. Ask yourself how swing became bebop, and maybe you will get closer to an answer. Mastering existing techniques and practices in any art form is just the beginning. Willie Cole The Boston Printmakers’ 2015 Patrons Lynn Barlow All Bright Travel Stoneham, MA In Memory of Ture Bengtz Duxbury, MA John Bogis & Zoe Caulfield Winchester, MA Helen Citron Boodman Lexington, MA Susan Brokaw Winchester, MA Lawrence Carpman & Pamela Price Marshfield, MA Paul J. Hayes Hayes Messina Gilman and Hayes, LLC Boston, MA Carol Taylor & John Deknatel Brookline, MA Michael Tucci Boston, MA Brett J. Holmgren Robert M. Curry and Associates Boston, MA Kellee Twadell Rose and Dove Specialty Gifts North Andover, MA Harriet Berkman Hunt and Family Weymouth, MA Sharon Walkey Saugus, MA Katherine Ingraham & Richard Bergin Brookline, MA Arthur & Phyllis Levine Newburyport, MA Lawrence & Catherine Lingley Amesbury, MA Danny Y. Chang Koy-Korean Fusion Restaurant Boston, MA Kevin M., Amy M., Amanda L. & Francesca A. O’Brien Winchester, MA Jodi Chang Art and Frame Source North Andover, MA Stephen Perry & Oliver Radford Cambridge, MA Renee Covalucci Concord, MA Lisa Duffy Prides Crossing, MA Howard I. Goldstein Newton, MA Donald & Kathleen Golini Reading, MA Debbie & Michael Hagan Andover, MA Heather & Jeremy Pozen Newton, MA Gilles Quintal Jamaica Plain, MA Robert Rovenolt Boston, MA Judith & Hanno Steen Brighton, MA Meghan Sullivan North Smithfield, RI Ken & Kerry Washburn Swampscott, MA Pamela Yameen North Andover, MA With Special Thanks To Full Tilt Print Studio Boston MA 2015 Awards: Selection of the Juror, unless otherwise noted Purchase Prizes: The Boston Printmakers Prize Collection: The Boston Public Library Abby DuBow, DisCards, mixed media monoprint on discarded library cards The Graphic Chemical Prize Collection: Graphic Chemical and Ink Company, Villa Park, IL Jon Goebel, Pursuit of Latitude, drypoint, aquatint The Otis Philbrick Memorial Prize Collection: The Museum of Fine Arts, Boston, selected by Cliff Ackley Jenny Robinson, Infrastructure #2, drypoint The Ture Bengtz Memorial Prize Collection: The Art Complex Museum, Duxbury, MA Leah de Prizio, Cyrillic Diptych (3), woodcut on fabric Materials Awards: Blick Art Materials, Galesburg, IL Kathy Aoki, Gangnam Style (at the Moulin Rouge), lithograph Andy Owen, Heatwave, collagraph Boxcar Press, Syracuse, NY Donna Catotti, Waiting for the Tide – Alaska, screenprint Constellation Studios, Lincoln, NE Marina Brownlow, Bloodline 4, monoprint Gamblin Artists Colors, Portland, OR Donald Furst, 3:20am, mezzotint Lina Monclus, Distortions, monotype, linocut, chine collé, sewing, drawing Hiromi Paper International, Santa Monica, CA Justyne Fischer, Loosie Law, woodcut on voile Legion Paper/Moab Paper, New York, NY Coco Berkman, Petflicks, linocut Robbin Juris, FSA67 Abraham/Isaac, digital pigment print McClain’s Printmaking Supplies, King City, OR Neal Harrington, Spirits, woodcut, India ink wash Mixit Print Studio, Somerville, MA Coco Berkman, Down in the Grey Zone, reduction linocut MOO, Boston, MA Ann Conrad, Motherboard 1, intaglio, relief Mary Strandell, Mad Men Stairs (with Virginian Silver), 3-D lenticular print Muskat Studios, Somerville, MA Helen Cantrell, Suburbia Night Wind, woodcut Oehme Graphics, Steamboat Springs, CO Jenny Robinson, Infrastructure #2, drypoint Savoir-Faire: Charbonnel, Novato, CA Victoria Elbroch, One Unclouded Blaze, monotype Savoir-Faire: Fabriano, Novato, CA Norberto Marrero, Ventanas, artist book Singer Editions, Boston, MA Stanley Squirewell, Anyanwu II, acrylic on pigment print Takach Press Corporation, Albuquerque, NM Jack Damar, Death of Whimsy, lithograph Zea Mays Printmaking, Florence, MA Shirley Bernstein, Eye Cloud, reduction woodcut Checklist All dimensions are in inches, height preceding width. * Member of The Boston Printmakers † 2015 Juror Award Kathy Aoki Santa Clara, CA 1. Gangnam Style (at the Moulin Rouge) † Lithograph 24 x 36 $1350 Kathy Aoki Santa Clara, CA 2. The Twerking Lesson Photopolymer intaglio 8 x 10 $650 Frances Ashforth Ridgefield, CT 3. Water Study 33 Monotype 22 x 22 $1100 Frances Ashforth Ridgefield, CT 4. Water Study 34 Monotype 22 x 22 $1100 June August * North Hampton, NH 5. Kiss at L’Hotel de Ville Screenprint 31.5 x 44 $1175 Jane Banquer Peaks Island, ME 6. Calm After the Big Storm Woodcut 13 x 14 $200 Stephen Barnwell Wayne, NJ 7. American Relief Bond Digital print with mixed media 11 x 8.5 $300 Stephen Barnwell Wayne, NJ 8. Perpetual War Bond, Series 2014 Digital print 11 x 8.5 $300 Edward Bateman Salt Lake City, UT 9. Specimen No. 1 from Five Anomalies Pigment print from 3D digital construction 20 x 20 $350 Judy Bergman Hochberg * Canton, MA 10. The Cornfield Polymer plate photogravure 9.5 x 17 $350 Judy Bergman Hochberg * Canton, MA 11. The Last Stop #2 Polymer plate photogravure 15 x 10 $300 Coco Berkman * Gloucester, MA 12. Down in the Grey Zone † Reduction linocut 18 x 24 $450 Coco Berkman * Gloucester, MA 13. Petflicks † Linocut 36 x 24 $180 Shirley Bernstein * Hampton, CT 14. Cloudy Ceiling Reduction woodcut 10 x 22 $450 Shirley Bernstein * Hampton, CT 15. Eye Cloud † Reduction woodcut 12 x 22 $450 Rebecca Bleau Grass Valley, CA 16. Ladies, Don’t Lose Your Heads Screenprint 23.5 x 13.5 $650 Becky Blosser Lancaster, PA 17. Trap Study 2 Screenprint 10 x 10 $250 Becky Blosser Lancaster, PA 18. Trap Study 3 Screenprint 10 x 10 $250 David Blow * Hickory Creek, TX 19. We All Go Blind Digital print 12 x 20 $350 Marina Brownlow Santa Fe, NM 20. Bloodline 1 Monoprint 40 x 30 $2800 Marina Brownlow Santa Fe, NM 21. Bloodline 4 † Monoprint 40 x 30 $2800 Marina Brownlow Santa Fe, NM 22. Bloodline 5 Monoprint 40 x 30 $2800 Rachel Bruya Madison, WI 23. Meeting the Sky Lithograph construction 12 x 12 x 4 $500 Quenby Bucklaew Jamaica Plain, MA 24. Causeway Bay Rush Collagraph, linocut, gum arabic transfer 9x7 $250 Anne Burton Lincoln, NE 25. Cheer Woodcut 13 x 19 $225 Helen Cantrell Old Lyme, CT 26. Suburbia Night Wind † Woodcut 36 x 72 $4000 Helen Cantrell Old Lyme, CT 27. Suburbia Pink Night Woodcut 36 x 72 $4000 Sandra Cardillo * Framingham, MA 28. Connections 1 Solar plate etching 15 x 11 $300 Sandra Cardillo * Framingham, MA 29. Connections 2 Solar plate etching mounted on wood panel 8x8x2 $250 Donna Catotti Haines, AK 30. Waiting for the Tide - Alaska † Screenprint 18 x 6 $165 Liz Chalfin * Florence, MA 31. Peso Taxi Etching 12 x 16 $250 Ann Chernow * Westport, CT 32. Moonlight Lithograph 11 x 14 $500 Ann Conrad New Canaan, CT 33. Motherboard I † Intaglio, relief 40 x 32 $4200 Candice Corgan Albuquerque, NM 34. Choose Your Poison Lithograph 8.5 x 8.5 $80 Candice Corgan Albuquerque, NM 35. Playtime Lithograph, chine collé 22.5 x 22.5 $300 Damian Cote * Holyoke, MA 36. Untitled, from the series “Letters to Dr. Ehrlich” Intaglio 9 x 12 $300 Kevin Cummins * Chester Springs, PA 37. Chalk Drawing Etching, aquatint 11 x 14 $500 Jack Damer Madison, WI 38. Death of Whimsy † Lithograph 12 x 15 $750 Leah de Prizio * Boston, MA 39. Cyrillic Diptych (3) † Woodcut on fabric 18 x 38 $1400 Paula DeSimone Plainville, MA 40. Metamorphosis I Monotype, chine collé 17 x 40 $1800 Jacob Diaz Boise, ID 41. Immortality Through Biology 1 Screenprint on paper, wood 48 x 30 x 1 $500 S. Dickey * Columbus, MS 42. Next Time We Live Dimensional screenprint 18.75 x 42.25 x 3 $1700 Beth Dorsey Minneapolis, MN 43. 2 x 2 Black and Brick Monoprint 24 x 18 $950 Abby DuBow New York, NY 44. DisCards † Mixed media monoprint on discarded library cards 25 x 27 $1100 Jessica Dunne San Francisco, CA 45. Bus, Ulloa Spit-bite aquatint 6x9 $800 Jessica Dunne San Francisco, CA 46. Commuters, Salzburg Spit-bite aquatint 4x6 $400 Barbara Duval Charleston, SC 47. Untitled 01 Woodcut, chine collé 28 x 34 $400 Barbara Duval Charleston, SC 48. Untitled 02 Spit-bite etching 28 x 34 $400 Matthew Egan Greenville, NC 49. Dinner Party Lithograph 17.5 x 13 $500 Matthew Egan Greenville, NC 50. Near Maaloula Lithograph 12 x 9 $350 Barbara Elam * Dallas, TX 51. Three Graces of Rio Layered monotype 37 x 28 $1600 Victoria Elbroch Kittery, ME 52. One Unclouded Blaze † Monotype 15.75 x 11 $295 Mike Elko Bloomington, MN 53. Grandma’s Raisin-Radium Muffins Screenprint 30 x 15 $300 Mike Elko Bloomington, MN 54. Tree Romance Screenprint 22 x 22 $350 Justyne Fischer Washington, DC 55. Loosie Law † Woodcut on voile 50 x 32 x 3 $1400 Kirsten Flaherty Astoria, NY 56. Dollar Store Intaglio, watercolor 16 x 22 $250 Donald Furst * Wilmington, NC 57. 3:20 a.m. † Mezzotint 12 x 12 $400 Donald Furst * Wilmington, NC 58. Afterglow Mezzotint 8 x 4.5 $250 Joan Karissa Gallego San Francisco, CA 59. Locked Reduction linocut 14 x 13 $300 Ron Garrett Boca Raton, FL 60. Magpie Americana Intaglio, hand-coloring 18 x 24 $795 Ron Garrett Boca Raton, FL 61. Stingray Fever Engraved plasti-cut relief print 72 x 39 $1695 Jon Goebel Hilo, HI 62. Pursuit of Latitude † Drypoint, aquatint 17.5 x 11 $400 David Graves Santa Barbara, CA 63. Ascending Descendents Reduction woodcut 27 x 15 $950 Dirk Hagner * San Juan Capistrano, CA 64. Guns L. A. Reduction relief 34 x 32 $2200 Neal Harrington Russellville, AR 65. Delta Oracle Woodcut, India ink wash 32 x 24 $950 Neal Harrington Russellville, AR 66. Feather Signal Woodcut, India ink wash 24 x 24 $800 Neal Harrington Russellville, AR 67. Spirits † Woodcut, India Ink wash 38 x 24 $950 Zoe Hawk Augusta, WI 68. Governess Linocut 14 x 11 $450 Su-Li Hung * New York, NY 69. Little Girl’s World Woodcut 21 x 20 NFS Nina Jordan New York, NY 70. 612 Excelsior St. Woodcut 14 x 22 $600 Robbin Juris Stamford, CT 71. FSA67 (Abraham/Isaac) † Digital pigment print 14.2 x 14.2 $750 Robbin Juris Stamford, CT 72. Untitled (FSA45D) Digital pigment print 15 x 12 $750 Robbin Juris Stamford, CT 73. Zeus/Athena Digital pigment print 14 x 13 $750 Robin Koss Chatham, NJ 74. Walls Which Do Not Last, No.1 Intaglio 18 x 12 $1375 Judy Kramer * Cambridge, MA 75. The Chanteuse Hand-colored screenprint 15 x 11 $350 Cynthia Lollis and Daniela Deeg Decatur, GA 76. Der Prinz von Liegenland Screenprint artist book 10 x 6.8 x 1 $400 Haley MacKeil Cambridge, MA 77. The Old Woman Linocut 30 x 44 $500 Norberto Marrero Havana, Cuba 78. Ventanas † Artist book 10.4 x 8.8 x 1.6 $1300 Donald Martin Saint Augustine, FL 79. Grasses Linocut 24 x 24 $400 Michelle Martin Tulsa, OK 80. Infirmity Etching 16 x 12 $400 Stephen McMillan * Bellingham, WA 81. Winter Reflections Aquatint etching 9 x 12 $180 Frederick Mershimer * Brooklyn, NY 82. After Hours Mezzotint 6.25 x 12 $450 David Mollett Fairbanks, AK 83. Our Town Screenprint 15 x 15.5 $500 Lina Monclus Weston, Broward County, FL 84. Distortions † Monotype, linocut, chine collé, sewing, drawing 47 x 47 $1812 Jim Monson * Tourrette-Levens, PACA France 85. Sacred Grail Reduction woodcut 15 x 19.25 $650 Julie Nadel Jersey City, NJ 86. Elephant Ride - Coney Island Linocut 9 x 12 $325 Charles Norris Cambridge, MA 87. Dory II Woodcut 17 x 13 $800 Charles Norris Cambridge, MA 88. Islesford Ebb I Woodcut 13 x 37 $1200 Marian O’Connell * Middletown, RI 89. Quholme Etching, watercolor 14 x 12 $300 Andy Owen Naples, FL 90. Heatwave † Collagraph 36 x 31 $850 Robert Patierno Dallastown, PA 91. Wrightsville Quarry Reduction linocut 16 x 12 $400 Jim Pearson Lawrenceville, IL 92. Anonymous Plant QW Digital inkjet print 7.5 x 6 $300 Barbara Putnam * Southborough, MA 93. Fingers in the Snow Woodcut 28 x 32 $1600 Jenny Robinson San Francisco, CA 94. Infrastructure # 2 † Drypoint 26 x 54 $2200 Ramiro Rodriguez South Bend, IN 95. Plutocracy Rising Reduction linocut 12 x 9 $80 Donald Rubinstein Santa Fe, NM 96. A Story Line Archival pigment print 11 x 15 $1900 Masaaki Sato * New York, NY 97. Apple No.8 - RR Screenprint 21.5 x 21.5 $800 Vinay Sharma Sacramento, CA 98. SFO Series Drypoint 24 x 36 $1200 Mark Sisson Stillwater, OK 99. Portrait of Mary Crone: Black Tie Cuts T-Shirt Linocut, woodcut, lithograph 16.25 x 12.25 $500 Stanley Squirewell New York, NY 100. Algorithmic C-Print 30 x 35 $5000 Stanley Squirewell New York, NY 101. Anyanwu II † Acrylic on pigment print 48 x 34 $7200 Dan Steeves Sackville, NB Canada 102. A Large Overarching Story Etching 18 x 24.2 $900 Dan Steeves Sackville, NB Canada 103. Fifteen Stones Etching 18 x 24.2 $900 Stephanie Stigliano * Malden, MA 104. Red Monsters Monoprint, chine collé, sumi ink 15 x 22 $500 Susan Stranc * Lowell, MA 105. Red Squirrel Blue Squirrel Reduction linoleum 30 x 44 $1200 Mary Strandell North Bergen, NJ 106. Mad Men Stairs (with Virginian silver) † 3-D Lenticular print 12 x 20 $1200 Art Werger * Athens, OH 107. Descent Etching, aquatint 24 x 24 $1200 Art Werger * Athens, OH 108. Nightfall Etching, aquatint 36 x 24 $1200 Thomas Wood Bellingham, WA 109. Adoration Etching 7x7 $500 Jury Exempt Work by the Executive Board of The Boston Printmakers Vivian Berman, Emeritus * Lexington, MA 110. A Quiet Place Collagraph, collage 22 x 20 $500 Christiane Corcelle * Belmont, MA 111. Mask #2 Carborundum collagraph, monotype, chine collé 20 x 20 $600 Deborah Cornell * Lexington, MA 112. DarkLight Archival pigment print 18 x 15 $700 Marc Cote * Framingham, MA 113. Florence and Padua Etching, aquatint 10 x 8 $300 Renee Covalucci * Concord, MA 114. Arizona Sky Reduction woodcut 12.75 x 19 $450 Susan Denniston * Scituate, MA 115. Infinite Sea Etching, aquatint, drypoint, chine colle 7x7 $250 Alex Gerasev * Revere, MA 116. Moon Lithograph 5x4 $180 Eric Goldberg * Philadelphia, PA 117. The Lovers Etching, aquatint 12 x 18 $350 Sharon Hayes * Andover, MA 118. Waiting Etching, chine collé 14.5 x 18 $450 Theresa Monaco * Stoneham, MA 119. Memories of the Mezzagiorno Photopolymer intaglio 8.75 x 9.25 $400 Ky Ober * Arlington, MA 120. Unearthed Plate Collagraph, drypoint, monoprint 20 x 15 $600 Liz Shepherd * Boston, MA 121. Ardennes Redux Linocut, hand-coloring 37 x 13 $650 Stephanie Stigliano * Malden, MA 122. Moon Halo Intaglio, sumi ink 8x6 $200 Julia Talcott * Newton, MA 123. Night Flight Woodcut, collage 16 x 12 $350 Lois Tarlow * Newton, MA 124. Falling Squares Monoprint 15 x 11 $850 Mary L. Taylor * Marshfield, MA 125. Sea River Dock Digital pigment print with encaustic, silver leaf on board 24 x 24 x 2 $1000 Bob Tomolillo * Lynn, MA 126. Al Mutanabbi Street Lithograph, chine collé 15 x 12 $350 Malgorzata Zurakowska * Lexington, MA 127. Sun Black like . . . . Mezzotint 16 x 12 NFS Glossary How Prints Are Made An original print is a work of graphic art; the general requirements are: 1. The artist has made the image in or upon the plate, stone, wood block, a computer, or other material for the purpose of creating a work of graphic art. 2. The impression is made directly from the original material by the artist or pursuant to his or her directions. 3. The finished print is approved by the artist. Relief Printing In relief printing, the artist carves away from a block or metal plate what is not to be printed. The raised surface is then inked and printed onto paper by means of hand pressure, rubbing the paper with a spoon or baren or by using a press. Both hand work and photo-based imagery can be used with this method. Woodcut: Parts of a wood plank or plywood block are cut away, leaving a design in relief, which is then printed. Wood Engraving: Similar to woodcut, but the end grain of the block is utilized, enabling the artist to get a much finer line. Linocuts: Linoleum may be used instead of wood, giving a somewhat similar result. Relief Etching: A print is made from an acid-etched plate whose top surface has been rolled up with ink and printed, rather than the usual intaglio inking method. Intaglio Printing Intaglio is the opposite of relief printing in that the incised lines or textured areas of the plate, and not the raised surface, hold the ink. After the artist has created the image on the plate (usually copper or zinc), ink is forced into the incised lines and textures. The surface is wiped clean, leaving ink only in the recessed lines or areas. The print is made when dampened paper is pressed into these areas, picking up the ink as it goes through the press. Both hand work and photo-based imagery can be used with this method. Etching: A metal plate is coated with an acid resistant “ground”. The artist removes or scratches away parts of this ground to create the image. The plate is then put into an acid bath and the lines of the design are eaten into the plate. The resist can be a hard ground or a soft ground. Aquatint: Large tonal areas of the plate are often created with aquatint. The plate is covered with a dusting of acid-resistant rosin or lightly sprayed with enamel. The amount deposited, along with the length of time the plate is etched, determines the final tone. Engraving: No acid is used here. Instead, the lines are cut into the plate with a tool called a “burin”. Drypoint: A method similar to engraving; however, a sharp needle is used which creates a burr along the cut line. Ink caught in that burr leaves the characteristically soft, velvety effect. Mezzotint: A tool is used which raises a texture of burr over the entire plate. A print taken from this plate would be solid black. Lighter areas have to be scraped or burnished away. Collagraph: The surface is built up by adhering various materials to the plate. Either (or both) relief and intaglio inking may be employed. When printed, the paper will generally be embossed due to the thickness of the materials on the plate. Lithography The image is drawn or painted onto a lithographic stone, metal or plastic plate using a greasy or non-water soluble material. The stone or plate is then treated so the image areas are ink-loving (greasy) and the non-image areas are water-loving. During printing, the stone or plate is dampened with water and an oil-based ink is rolled over the surface, depositing ink only on the image areas. Paper is placed on the inked surface and run through a press. Both hand work and photo-based imagery can be used with this method. Screenprint The artist prepares a stretched screen (originally silk but now usually polyester) and blocks out the areas not to be printed with glue, cut film, paper, photo-stencil, etc. Ink is then squeezed over the screen, forcing it through the open areas onto the paper, which has been placed beneath the screen. This method is also known as silkscreen and serigraphy. Both hand work and photo-based imagery can be used with this method. Monotypes & Monoprints Monotypes are unique prints made by creating an image on a smooth plate or open screen and then transferring the ink to paper, often using a press. The image is sometimes developed by overprinting repeatedly or by adding to the print surface directly. Monoprints are also unique prints, but include at least one plate that has been treated in any one of the various printmaking techniques, creating a repeatable element. The artist often uses this plate as a base or constant and adds other imagery to create a unique print. Digital Prints Digital prints are first-generation prints made directly from a digital file. Digital images can be drawings and paintings done by hand using a paint program or collages of imagery from photographs, scanned materials, and other sources, which are manipulated in a photo-editing program, or a combination of the two methods. If other media are applied before or after printing, a mixed-media image results which can be either a multiple or a monoprint. Digital collage: A single image is created by combining images from a variety of sources in a computer, where each layer of imagery can be manipulated separately and then combined for output in color or black ink. The computer may be used at any stage to produce printed images from which the artist selects parts to create a pasted collage. Inkjet print: A continuous-tone image printed with an inkjet printer, which sprays color droplets from tiny nozzles onto a piece of paper or other substrate. Iris print: An inkjet print printed on an Iris printer, which uses electrostatically sorted droplets of water-based vegetable dyes. Giclée: A French term that means a spurt of ink and is sometimes used to describe a second-generation Iris print or reproduction. Limited Editions A set of identical prints made is called an edition. The edition number (represented as a fraction), title (if any), and signature of the artist usually appear at the bottom margin of each print. The top of the fraction identifies the print within the edition; the bottom of the fraction indicates the total number printed. A small number of additional prints designated as “Artist’s Proof” or A.P. may also be printed.
