minha gravura nessa troca / my print in this exchange
medusas (jellyfishes)
águatinta e roulette / aquatint and roulette
215 x 118 mm
2010
SOUTHERN WINTER NORTHERN SUMMER SOLSTICE PRINT EXCHANGE 2010
thanks to Tina Moore who was the coordinator of this exchange
and for all for the wonderful prints!
Artist: Jean Womack
Technique: reduction print woodblock
Paper: Japanese paper
Ink: Createx pure pigment with monotype medium
The watercolour model for this has been sitting on my kitchen window sill
for several years. I drove through the Presidio neighbourhood until I
found this overlook of Baker Beach and painted a picture of the Marin
Headlands. The water in front of the Marin Headlands is actually the
area called "the golden gate," which goes from the Pacific Ocean under
the Golden Gate Bridge, into San Francisco bay. So this is really a
picture of open ocean, but very close to land.
Artist: Guadalupe
Artist: Barbara Zietchick
Title: “Aztec”
Technique Solarplate etching
Ink: Charbonnel Noir Ink
Paper: Rives BFK
The print is a contrast in black and white which
describes the forms of pottery and masks. It reminds me of the Aztec
shapes and seems mysterious in some ways and abstract in others. I
enjoyed the process of creating the solarplate and hoped for the
possibility of achieving really black blacks in its printing
Artist: John Ryrie
Title: Cat& Mouse
Technique:linocut
Paper:BFK Rives
Ink: oil based
From a fable by Aesop
Artist: Guadalupe Victorica
Title: "Notre Dame"
Technique: linocut
Paper: Fabriano
2010
Artist: Jenn White
Title: My Boy
Technique: Woodcut on two blocks of MDF printed with a book press.
Paper: Saunders
Ink: Faust Etching
Discussion: The woman was cut into a ‘found prop’ from the back of a
photo frame, the shape of which suggested the background behind the
figure. The young man was cut into an off-cut of MDF. As this is my first
attempt at an edition, I printed both blocks together with the use of a matt
board jig to slide onto the platen. Although both pieces of wood are of
similar thickness, there was just enough difference to make consistency
of prints frustratingly unpredictable, even with packing under the thinner
block. The thin MDF also flexed with repeated use and had to be
tweaked regularly.
Artist: Jim Brodie
Title: BP Cleans up
Technique: Digital imaging. Images edited in Photoshop. Images
manipulated in Corel Painter
Paper: Epson Archival Matte paper 192 gsm
Ink: Epson Toners CMYK
This image is about the BP oil spill in the Gulf of Mexico.
Eleven oil workers were killed and God knows how many millions of litres
of oil leaked in the ocean & wound up in the wetlands or the coastlines of
surrounding states. There is apparently lots of oil still floating around in
the water. I sourced the image from the BP web site which refers to the
oil spill as an incident.
I included the image of the then CEO Tony the pommie because I
believe his statements like ‘ I want my life back.’ and his actions like
going sailing on his yacht while the oil was still leaking typifies the
attitude of BP towards this event.
I don’t know if it is true but a number of web sites dealing with the
disaster indicated BP is getting a $10 billion tax write off for the efforts in
cleaning up this mess.
Artist Jeanne Norman Chase
Technique: woodcut
Ink: Daniel Smith.... relief Ink
Paper: Rives med. weight paper
Artist: Mellissa Read-Devine
Title: "Dreaming"
Technique: Linocut
Paper: Canson Gravure
Ink: Oil Based Pantone
short description of either technique used and/or description of what was
the motivator for the print.
My dog is a wonderful subject to draw. When I can sit down in the
evenings, there he is, fast asleep, a perfect 'still life'.
I drew direct onto the lino, and carved from that, including a lot of the
sketchy lines.
Artist: Randie Feil
Title: Mt. Stephen Muses
Technique: Linocut
Paper: Mulberry
Ink: Speedball (water based)
About the Work:
In the Rocky Mountains in Canada's Yoho National Park is a very
important fossil site called the Burgess Shale. This site contains a wide
variety of animals dating from about 500 million years ago. The area is a
Unesco World Heritage Site with very strictly controlled access (as the
fossils are so rare they are prone to theft); the only means of public
access is on guided hikes. The hikes can be difficult to arrange; often
they are booked months in advance, as only a few small groups are
permitted each week, and only during the late summer and early
autumn. A few weeks ago it seemed I might be able to book two hikes
(different sites) at the Burgess Shale. I'd long considered doing an
edition while travelling somewhere, and when the hikes came through I
knew I wanted to make my prints at the Burgess Shale. After the first
hike (to a trilobite bed on Mt. Stephen, just outside the tiny town of Field,
British Columbia), I carved a lino block and printed the edition, all during
the two evenings after being on very steep mountain hikes all day.
Exhausting but deeply satisfying. The print image is an inverted triangle,
which is the general form of the trilobite bed on Mt. Stephen as seen
from the town of Field.
The two fossils are meant to suggest the two (very similar) species of the
most common trilobites found on the site.
Artist: Kalle Pihlajasaari
Title: Peace 2010
Technique: Zinc plate and Lino Cut
Paper: Scotia wove, 50% cotton, 100gms, ivory
Ink: Oil based letterpress ink for black, hand mixed artists oil paints for
colours
Discussion: It is a bit of a Northern Winter theme but I liked the original
block so felt like sharing. It is a derived work from found objects :-). I
found the thrown out photo engraved plate (source unknown) in the shop
recycling bucket. I remounted it and made proofs onto glossy card
stock. I also found some “solids block” basically what looks like a thin
litho blanket mounted onto a wood base for printing traditionally
rectangular solid areas on letterpress forms. I cut the block to size and
using it much like a mounted lino I offset the glossy proofs onto the
blocks as a key-block and then carved it to make colour blocks for the
composition. These were printed dry on a Vandercook SP15, the colour
blocks were printed first with a lighter impression to add the paper
texture to the colour.
Printmaker: Barbara Patera
Title: " Contemplating Death"
Medium: Woodcut ... shina ply
Paper: Magnani Pescia
Ink: Charbonelle Payne's Grey Oil Base
Edition size: 40 plus 2 AP
This print is part of the waiting room series. Taken from drawings done
while sitting in various doctor’s offices.
Artist: Rakesh Bani
Title: Untitled
Technique: Lino Cut
Paper: Chinese Paper
Ink: Coats Indian Black
Artist: Oscar Bearinger
Title: Amun, Creator and Sungod, as a Ram
Medium: Woodcut
Paper: unknown art paper
Ink: Carbonell Burnt Umber etching ink
Comments: Inspired by stone sculpture of Amun circa 1400BC, Egypt
Artist: Tina Moore
Title: Beetles
Technique Solarplate etching
Ink: Graphic Chemical Vine black
Paper: Arches Velun
I love the arrangement of insects for display as you see them in museum
cases. Australia’s Governor Macquarie had such a display of beetles
kept in a beautiful box along with other specimens, such as butterflies all
beautifully displayed.
Artist: Charles Morgan
Title: California Impressionism
Technique: 3 plate waterless lithograph
Paper: acid free card stock
Ink: Graphic Chemical and Ink lithographic inks
Comments: I wanted to make a more impressionistic print, not so much
of a botannical illustration. So I did the nature prints on the 3 plates using
a lot of ink and pressure from the press. That tended to make a broader
image, with less detail. The first two plates, yielding the flower, printed
fine, though I did notice some scumming. But the third plate with the
foliage was a disaster, showing little ink rejection. I re-made this plate a
total of 4 times before I finally got something that seem to work
reasonably well. These prints are "noisier" than I would have liked, as I
continued to fight the scumming on the third plate. I suspect the problem
was at least partially in the inks, as they seemed a bit runny. In the end, I
made the ink very short using epoxy hardener, but then plate adhesion
became a problem. I was using recovered used off-set press plates,
which are very thin, and the plate kept wrapping around the roller.
Lesson: for waterless lithography, GC&I inks are perhaps not the best
choice
Artist: Wendy Morris
Title: Untitled
Technique: intaglio
Paper: Arches
Ink: Charbonnel
Description: Printed from three plates, two are of old family photographs
of my parents. I love the shapes of pebbles and boulders and used these
forms by cutting the plates and stacking them much like stacked rocks. I
have been working on some ideas about balance in the context of family
relationships, my environment and just life in general. The prints vary a
bit in the placement of the plates and I consider this a sketch for some
more complex works ahead.
Artist: John Owens
Title “The Left handed Fiddler
Technique: Etching Zinc Plate with Copper Sulphate (see Below)
Printed with Faust Inks on Dutch Etching Paper.
A member of the List mentioned a site on “You-tube” and while there I
searched further. One was about etching nameplates using “Lazer”
printed onto the backing sheet from sticky labels as a resist. He
transferred the ink by ironing it onto the metal (using heat). I attempted
this, but ended up with a very messy printer, as I couldn't get enough of
the ink to adhere to the backing sheet, (too shiny).
But I then tried ironing onto the plate a print from just normal print paper.
The ink did adhere but when I tried to remove the paper it took some of
the ink with it. So I soaked the plate and paper in water and very slowly
and delicately tried to remove the sodden backing paper. Then I etched
the plate in Copper Sulphate and spent a lot of time burnishing the plate
to remove spurious marks.
This is the result.
When I draw for an etching I reverse the image, I did for this project, but I
shouldn't have. So the end result is a Left handed Fiddler
Artist: Kirstie Jamieson
Technique: Lino print
Paper: Stonehenge white
Ink: Schminke water based black
I was inspired on a recent trip to South-west Western Australia. Much of
the bushland is filled with an amazing variety of banksias - and where
there are banksias flowering, you will see and hear flocks of
honeyeaters, all excited by the wonderful supply of nectar.
This is my first lino print in many years and I have also been inspired by
Tina Moore, and the print exchange, to begin print making again.
Artist: George Jarvis
Title; “Repose”
Technique: Woodcut
Paper: Echizen Torinoko
Ink: Goyo soya black
Edition: 50
Discussion: What title should I give to yet another pose...looks
relaxed...another pose...”Repose”.
Artist: Linden Langdon
Title: Banksia
Technique: Lino cut
Paper: BFK Rives 300gsm
Ink: Charbonnel etching ink
The banksia flower is a constant fascination for me visually. Caught in
different lights they may glow a rich golden light with highlights of red
and honey and then at other times their form is what catches the eye.
For this print I dyed the paper using the acacia flowers that are blooming
in the front yard at the moment, bright yellow and dense, and eucalyptus
leaves which act as a mordant to set the colour (fingers crossed) and
then I printed the lino cut over the top.
Artist:Don Halpern
Title: Self-Portrait
Technique: Linocut
Paper: Stonehenge - warm white
Ink: Speedball Relief Ink Black (water soluble)
Description: I have been a painter for many years. It has only been in
the last few months I started printing. Being a painter, it was easy to
create form, volume, tone and mood. Printmaking presented me with an
interesting set of obstacles. These obstacles range from how to create
tonal value in a relief print to interpreting form in a more abstracted
manner than I would with brush and paint. The point of my piece,
therefore, was an exercise creating form, volume, tone and mood. I
planned ahead in an effort to avoid mistakes. I think I did that even
though there are still some in the print. I like this piece but wish I had
time to do it over. This is the first time I have done anything like this and
it was a learning experience. I'm already looking forward to the next
exchange.
Artist: Maria Regina Pinto Pereira
Title: medusas (jellyfishes)
Technique: aquatint and roulette on copper plate
Paper: Hanemühler
Ink: Charbonnel
I would like to create a texture like a crayon, so I did an aquatint using
wax crayon to isolate the values.
And some roulette to make contrast areas.
About the theme… I love the sea and I have a jellyfishes series. This
print belongs to this series.
When I was young I used to dive a lot and I’m always trying to catch the
light and the images from the bottom of the sea.
para entrar nesse grupo / to enter the group
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