Theme: Experiment with Color using any print technique or combination of techniques.
Participants created editions of 13 8″x10″ prints for this exchange. The portfolios were assembled by coordinator Marion Bartl, and distributed (in lovely embossed folios) on May 31, 2014.
Technique: Polyester plate lithography and stencil, on BFK Rives
As usual it didn’t turn out like I thought it would; maybe that’s why I usually don’t plan my prints! But it definitely has color.
Technique: Collagraph with Charbonnel Aquawash Ink, on various printmaking paper.
Plants grow and disperse their seeds, but the plant remains. The beauty and tensile strength of this passage serves as inspiration for this work.
Technique: collagraph using oil based ink on Rives BFK paper. The plate is glue, carborundum, & twine, between two sheets of foil glued to a masonite substrate.
The colors in this edition, chartreuse and deep red, are more interesting than my usual black and white, or sepia. In experimenting with colors I planned to make each print different, but by the end of the session I didn’t care for any of the 7 or 8 prints made. I left disappointed, thinking I would scrap the whole idea, plate & all.
But the next morning one of the prints jumped out at me, and became the first of this edition: using Graphic Chemicals’ process colors of magenta, cyan, yellow, & black, I mixed chartreuse for the first layer then the red was rolled across raised areas of the plate. The image is more organic than I usually produce, hence the title “going organic”.
Monoprint without ink (embossed).
I have had a long meditation practice in my life; this image was inspired by a conversation about what role meditation plays in finding one’s place.
Technique: polyester lithography with additional color.
A yin/yang dance image combines a porpoise-like body cavorting with a foxy, land creature, creating a union moment of flow and staunch, practiced balance. Even the surrounding matrix dances. I let these poly-litho prints, on both sized and unsized print paper, dictate whatever other media was interesting to me for bringing about the kind of enjoyment dance evokes. I use printmaking to have personal and varied fun, not to create identical repeats of an image. Many of these prints even have personal titles scribbled on the back as they appeared to enact a unique variation of the Wedding Dance.
Technique: Linoleum cut relief print using black water-based ink over printed plate rolled with red oil base relief ink on Rives BFK paper.
Dancing leaves make me happy.
Technique: low tech etch print on Arches 88 paper, using Charbonnell and Speedball inks, using both intaglio and relief wiping methods.
I used inks and colors that are not typical for me: I mixed colors including Prussian blue and yellow ochre with gold and white, experimenting with how this low tech plate method responds to repeated applications of inks applied in relief and intaglio. The result was very mixed.
Technique: monotype over polyester lithography
My experiment was to add transparent color and shape to my basic print. I started with a polyester lithograph, creating an edition of my drawing of moving spheres & pathways in space. I used a dark blue (cobalt with black) oil based ink on either Rives BFK or Arches paper. I added one or two colors in a second pass, using water based inks rolled very thinly onto an acrylic plate. With this color monoprint, I used one of two slightly different stencils inked in the blue (or in some cases just removed & left blank) to add an addition mysterious imagery to the whole. Some are ghost prints, others have the more vivid colors.
Technique: linoleum cut relief print using Danial Smith Relief Ink on Canson paper.
I have been in awe of Asian brush painting and wanted to see if I could combine the feel of a sumi-e brush and a woodcut.
Technique: etching with hand coloring, watercolor oil based Charbonnel ink on BFK Rives paper.
This print was created on a 5# steel plate with the old toxic techniques using acids and gasoline as the main ingredients. The print was a dance of joy at being in sunny, warm Mexico creating the plate with the inspiration of the beauty surrounding me. At first I saw this plate in blacks and whites and in between. As I began playing with printing, I enjoyed experimenting with colored inks and watercolor to add to the black and white images.