Tradigital Printmaking

ANTHONY HOLMQUIST trace monotype with inkjet

2011-10-23T11:50:00.000-07:00

I like these two prints by Anthony Holmquist who is an

AssistantProfessor (B.F.A. University of Nebraska; M.F.A. Colorado StateUniversity), where he teaches courses in printmaking and foundations, amongothers.

Lisa Bulawsky

2011-04-06T13:00:00.000-07:00

Are these not beautiful? Lisa is an artist who makes very beautiful complex artworks , using all sorts of techniques. I was a fellow exhibitor with Lisa in an exhibition in Falun, Sweden in 2007. Her work in that show was one of the pieces I particularly liked - it was a series of pieces of about A4 size that were exhibited as an installation with the suitcase they came in, as part of the work. Hers a link to the work in that exhibition - it shows the entire exhibition, which was held in Falun I have been meaning to do a post on here of her work for ages.

You really have to go to her website to get an idea of where she is coming from, or you can just enjoy the works as you view them - because that's how they are - to be looked at and intellectually, so to speak, consumed. Here's her website http://www.lisabulawsky.com/

Marilee Salvator

2011-02-08T07:54:00.000-08:00

I was somewhat surprised today when I realised that I hadn't included artist, Marilee Salvator here already. She was one of my early internet friends. That must have been 4 or 5 years ago.

I felt that here was an artist making work about being a human being through the artworks she makes - and not just talking 'the talk' . What I mean is here was someone, NOT issuing forth a lot of 'pseudo intellectual' artspeak in her statement OR HER WORK.

Her work is abstract and figurative varying from whatever the series is about. The earlier pieces I saw of hers were "Raindrops" and "The Sexual Abuse" series (the latter which I thought was a very brave move) you just have to admire that. I don't think that I could have been that outspoken ( in a visual sense - as such).

Marilee's latest artwork is a large installation called "Growth Patterns " see image below" concerned with cell growth in a medical biological sense.

I must say I am curious to find out more about it - how she made it - it seems to be printed on something other than paper ?
Perhaps I will check out her blog http://marileesalvator.blogspot.com/
Here is Marilee's portfolio url http://facstaff.bloomu.edu/msalvato/index.html it's well worth a visit.

IPCNY Spring 2010-11 "New Prints Programme"

2011-01-31T14:11:00.000-08:00

More info on Hilda Shen can be found here at her portfolio on the net.

Ian involves himself in some pretty labour intensive process and thinks deeply as to the creation of his artworks - to have a look at where he is coming from check out his website

Its always real interesting to have a look inside other peoples house ? as in to see other artists portfolios on the internet. Noah's is another nice website well organized and interesting bits and pieces to leaf through HAVE A LOOK

Most of this artists artwork seems to be about the HOME - from what I could see on Alysia's website
Have a look for yourself and see what you think...............

Jenny Weiner, a UK based artist also exhibited her work in the RSA's Summer show in 2010 - titled "Dividing Cezanne’s Planes" it was another piece combining old and new technology and was mentioned in an article on that subject by Camilla Corr, on "Output Magazine"s website. See the article here.
Link to Jenny's WEBSITE

Marcus Rees Roberts

2010-10-11T06:21:00.000-07:00

Marcus Rees Roberts, is an artist I have been aware of for quite a while.

Technical combinations include digital, etching and screenprint, etching with digital chine colle, digital, screenprint, etching and collage also etchings with digital chine.

“Study for a Stabat Mater” is my favorite

This link takes you directly to his artwork

This is the main address of the gallery that exhibits Marcus's work

http://www.prattcontemporaryart.co.uk/index.html 1

Cecilia Mandrile

2010-10-05T06:41:00.000-07:00

I first came across Cecilia's artwork about 10 years ago - I believe I saw it in Grapheion magazine , a bi lingual (English, Czech) art journal, previously published about 3 times a year but now once a year if things are going well. Grapheion is a very interesting publication so its well worth a look.

That particular article had Cecilia's doll forms photographed on the waters edge, somewhere in South America............but I could be wrong as to the location - anyway I liked them very much and just the idea of taking them to different palaces and documenting them in different contexts. Wish I had that original image I saw. I am pleased to see that Cecilia has finally gotten around to getting her own website together ( like me) .....you can see more of her work and the ideas behind it at her website

http://www.ceciliamandrile.com/

Mary Hood

2010-09-05T12:40:00.000-07:00

"Planet 2" is made using inkjet monotype and relief

This one which is my favorite is made using Inkjet, monotype, relief and watercolor.

I came across Mary's excellent work a few months back and it's always interesting to see any new work she uploads to the web. I truly find the way she integrates inkjet and traditional printmaking techniques to be excellent. You can see more of here work HERE

Russell Crotty

2010-09-05T07:29:00.000-07:00

I really like these globular works which Russell makes in 2d and 3d. His subject seems to be mainly the world of astronomy and landscape . He primarily uses pen, ink and water colour. Interesting website - take a look . http://russellcrotty.com/

Paul Furneaux

2010-09-05T06:58:00.000-07:00

While recently exploring the web for information on artist printmakers using the moku hanga (Japanese method of woodblock) I was delighted to come across this work by Paul Furneaux. Just gorgeous.

To see more of Paul's work and to find out more about the technique check out his website

http://www.paulfurneaux.com/

Inkjet on etching

2010-09-01T15:31:00.000-07:00

This was a major step for me. Until this point I had only ever done traditional printmaking techniques ON TOP of inkjet prints. Or I had made prints, using traditional printmaking techniques (mainly intaglio) and then incorporated chine colle (which were inkjet printed onto lightweight Japanese paper).

My hesitation had been somewhat coloured by my apprehension with regard to feeding 'foreign bodies' so to speak, through my expensive Epson R2400 printer. I mean I didn't want to wreck it.
I started the image from scratch with this objective in mind, i.e., that I would overlay the inkjet on to the proof. So I guess the print started its life inside the computer with the 'overcoat'.

Physically - I started with the figurative image well that is, in terms of actual preparations . I made a positive in Photoshop as a bit map, to put onto the light exposure unit we have at FDPW. It's a very basic one but I am familiar with using it by now.

My aluminium plate was first degreased, then I applied a layer of roll on "Fotec", photo etch, emulsion. This was put to dry, in our drying cabinet. I got the emulsion from Intaglio Printmaker suppliers in London. I like that I can phone them if I have difficulty with this process (although I am used to it by now so don't need to) but when you are starting out its really helpful to have that technical back up.
Once dry it was removed and allowed to cool to room temperature. Then I put the light box on to heat up, ours takes ten minutes.

When I do any printmaking process that requires precise measured timeing - I find it is essential to have a digital timer, otherwise I get distracted especially if I am talking to other workshop printmakers.
I then put my positive which is printed onto inkjet acetate and place it over my plate which has the dried, cured emulsion on it. Masking tape is stuck onto the back/side, to keep these together and in place.

Onto the glass top U.V. lightbox, I place the items - in this order

my positive on acetate then my "foteced" plate then black paper or foam
On top of which, I put some weight to enable the plate/positive to make good contact with the UV light source.

This is in the form of a batch of old metal plates that we keep by the UV box for this purpose.
I then expose the plate to the UV light for 3 minutes. I forgot to mention that I have already prepped the washing soda crystals mix, for developing the plate - after it has been exposed.

It's a mix of 10 grammes of washing soda crystals to 1 litre of water (room temperature).

Having said that , in fact, personally, I always add a little boiled water from the kettle to the measured out, washing soda crystals to make sure they are dissolved and then I make the mixture up to the 1 litre mark, on the plastic jug.

That was all I needed ( I mean, 1 litre) as it was a small plate and I had a small plastic tray to develop it in. I also put some water (room temperature) , in a similarly sized plastic tray to drop the plate into after it has been in the developer.
Once the plate has been developed in the tray with the soda crystals and 'looks' right, I rinse it in the other tray.

OK.......... once that's done I put the plate to 'cure' on the UV box. I leave it on there for about 5 minutes. Then it's ready to put into the mordant.

Being as it's an aluminium plate, it is put to etch in a mix of copper sulphate crystal powder and a measure of salt.
I still am so pleased that I can do this at home as and when I wish. It's great not to have to go into the workshop to do this. This must be so great for those printmakers who are miles and miles away from an open access print workshop or who maybe cannot afford the costs.

The other good thing where etching aluminium is concerned, and one of the reasons I wanted to get used to doing etches with it - is that the' spent mordant' can be disposed of down the drain whereas copper sulphate mordant, used to etch zinc, has to be disposed of using a specialist.

Having said that I remember now, reading on Nik Semenoff's website New Directions in Printmaking , that if you add something to it, the mordant becomes neutralized, making it safe to dispose of, in a domestic drain. The link takes you straight to the article.

I am so grateful to people like Nik, who generously share their research, their knowledge. It's something I really believe in and why I have always endeavored to give precise descriptions of my technical processes. Once a teacher always a teacher!!........ there is that as well.
But I have learned from others on the internet and I just want to repay the compliment.
Enough already!!

Anyway..........so then I took a proof and was kind of annoyed to see that line crossing down the horizontal figure BUT as I knew I would be overlaying this, with a layer of ink from the inkjet printer - I figured it might be OK.

Of course then I had to go and start trying to be a clever clog- I got this notion that I could have parts of the layer being more transparent than others. Given that the layer has to have a degree of transparency in any event - I seem to remember that I got confused at this point. As can be seen from the image (turquoise colour), I was also trying to decide which color to go with.

By this time I had also scanned the proof into the computer so that I would be able to 'virtually" place in beneath my photoshop layer .

I also wanted to be able to output this layer of ink directly onto the paper. Measurements and registration was critical. I had to input the exact paper measurement that I was loading into the epson printer and have it as a 'custom setting'.

HOWEVER ....I got mixed up about which direction the image comes out of the printer. It has taken ages to get used to it and I can safely say that I am no longer intimidated by the beastly thing.

One of the problems with it has been that I use it now and again say on average once every 4 months so I kind of forget how to use it although I have by now printed out all the pages, that I need to refer to, from the PDF manual that comes with the printer.
Honestly you'd think with a printer that costs 7 or 8 hundred pounds (when I bought it) that they would be generous enough to supply it with a hard copy manual !! I have also written note on the uses of different types of paper although I mainly use printmaking paper. I HAVE tried their own brand paper such as their watercolour paper and the Bockingford double sided paper that you can buy from places like John Purcell or RK Burt. But there's something rather unpleasant about it in a tactile sense.

It took ages to get the paper to load into the machine and not show up on the screen as "paper loaded incorrectly" or for the paper to just spurt out of the machine.

I take it as a 'given' nowadays that I may have to do about 10 attempts before it finally realizes that I am not leaving the room and that it MUST bend to my will.

The other hurdle to overcome with using this printer is that it has three different entry points for the paper there is front feed, rear feed and upright feed. eeeek !!

Anyway if you click on the image above (fourth up from here) you can see that I got the inkjet image overlaying part of the etching .

Even though I 'misplaced' the layer of inkjet ink, I was soh thrilled I really was . What an achievement especially for me a technical nink-a-poop !!
I must have done a couple of more proofs as I seem to still have 2 that I can try this again on, it was late so I went to bed. This has yet to be resumed. I did this about five months ago now. It maybe something I use in a forthcoming project . We shall see...........we shall see.

Capozzi the Art Gangster and Sweet little Bambi ??!!

2010-08-07T12:52:00.000-07:00

Well thats what it looks like to me - and I am sure Robert (Capozzi) would have something different to say. I have just been looking at his website and Blog and believe me - that guy gets himself / his artwork about the place . Which is a good thing. I quite like this image by him - its different and contemporary. His website and blog is certainly worth having a look at too.

The work is titled “Sub-Rosa” . Apparently Robert says (in his blog) "the term sub-rosa, or “under the rose” is used in English to denote secrecy and imply covert activity.

I noticed that he had his proposal selected and thereby participated in Graphica Creativa ‘09,
held at Galeria Harmonia where I had my work exhibited a few years ago as part of "Printmaking at the Edge" through being an artist featured in Richard Noyces book of that name.
I also submitted a proposal for a collaborative installation with my good friend Elisabeth Omdahl (Norway) for this exhibition, but it wasnt selected. As I said to Elisabeth in an email I sent her about a week ago I think it was as much the manner in which one proposed to EXECUTE the 'collaborating' as the aesthetic of the work itself which I think was more the emphasis in our proposal. I have come across one or two other artists who had works in that show and wasn't that impressed with any of it, of course it's all a matter of personal taste when you really think about it.

Still I will keep my eye out for when they put the next 'call for work' which should be held in 2011. Maybe it will come out soon.

Drypoint, inkjet, chine colle and white ground etching.

2010-05-21T06:37:00.000-07:00

Not ALL on the same print but some of the techniques that the two artists use in their combination prints.

Ann Thomson, is based at Monsoon Print Studios in Townsville, Australia. She makes prints that use etching, drypoint and inkjet. The outcomes have a collage feel to them and she likes to use strong colours. You can see more of her works here.

William Smith an American earned his BFA from Philadelphia College of Art. Solo exhibitions in New York, Los Angeles, Philadelphia, San Francisco and Atlanta.

Group exhibitions have included the Noyes Museum, NJ; The Palmer Museum, PA; Freedman Gallery, Albright College, Reading, PA; Abington Arts Center, PA; the Levy Gallery, Moore College of Art & Design, PA; Nexus Foundation for Today's Art, PA; and Rosenwald-Wolf Gallery, The University of the Arts, PA.

He has received three fellowships from. the Pennsylvania Council on the Arts and a Pew Fellowship award. Among the collections in which he is included are The Delaware Art Museum; Architectural Digest, Los Angeles; Aronson and Partners, Philadelphia; Pan Pacific Yokohama, Japan; and Mastercard.

I was unable to locate further web representation for William.

Course in Digital Printmaking with traditional print techniques (UK)

2010-03-12T01:57:00.000-08:00

Artist Janet Curley Cannon leads a weekend of experimental digital printmaking, printing on to different papers, collages materials, fabrics and applying digital transfers to other surfaces using Ink Aid.

"A digital wet transfer uses pigment based inks, a flat feed inkjet printer, and a pre-coat or digital ground. It is a technique for transferring by hand an inkjet image onto an absorbent surface such as paper, canvas, or plaster. This process gives a softer, slightly broken texture to the image and broadens the types and sizes of surfaces an artist can use. I use inkjet wet transfers throughout my work as it's perfect for re-creating the decomposed urban surface and can be easily combined with other media".

The emphasis will be on exploring and experimenting with digital images using the Epson 7600 large format printer.

About the Tutor:
Janet is a visual artist who uses digital processes and techniques as a starting point in much of her mixed media work. Her animation’s have been screened in numerous international festivals and her print work is profiled in several recent publications on contemporary printmaking. She gained her MA in Printmaking from Camberwell College, University of the Arts, London in 2005.

Date: Sat. 20th & Sun. 21st March

Time: 11.00-5.00pm
Tutor: Janet Curley Cannon
Cost: £124.00/ £122.00(c)/ £121.00(m)
Price includes materials and 1 x A2 art print.

for venue - look at link below:

http://www.digitalmediacentre.org/wp/

for more of Janet's work see:

Web: www.jcurleycannon.com

If you cant make the course but would like to find out more you can see an article entitled "Wet wet wet" she has written, which is published in the Winter 2009 edition of Printmaking Today, Vol 18, No 4.

Graham Carter

2010-03-05T12:26:00.000-08:00

Graham Carter's work I came across through a Google alert . He is a UK based artist working with silkscreen and inkjet. He seems to be selling a lot of work through a gallery called BoxBird which was set up by 2 Brighton based artists (one of them being Graham), and thats where there studio is based too. Click on this link to see his page on there - where you will see heaps of work.

The Boxbird Gallery was set up in 2008 and sells limited edition prints and original art works by some of the illustrators and printmakers, mainly based in the UK. The majority of the works seem to be made using silkscreen. There are some people creating limited edition inkjets and the odd piece here and there which is drawing or paper cut.

TRADIGITAL PRINT portfolio exchange ??

2010-03-03T13:18:00.000-08:00

A PROPOSAL

Tradigital portfolio/ exchange/ exhibition/ book
definition of what is meant by this is at the top (header) of this blog

That's a long title - I know . But I just thought that I 'd see if any of you respond as I need to do something "actual" and real, in relation to this blog. It's getting more and more difficult to keep up my momentum. I kind of want to initiate some action in relation to the ethos of the research, as it were.

I would love to co ordinate a portfolio exchange project but would want for it to be exhibited as well, internationally.
As I am an independent artist without allegiances to eg the academic world - this makes things more difficult but there may be benefits that I am unaware of, as of yet.

............................ Additionally I would like to see a book come out of this project, perhaps using Blurb dot com or Lulu dot com.    I have previously thought that I would like a design/layout for a book by one of these 'self publishing outfits which has some pages in the book left deliberately blank.
Obviously the nature of the paper would need to be considered. Thereafter artists involved with this exchange/project would make a "a printmaking" intervention therein (i.e., within these "designated blank areas").
The book would document the creation of the prints; the digital technology and equipment used, along with the papers + materials. Additionally the traditional processes would be explored as well as the content/ subject of the artworks (providing the individual artists were agreeable). I would like to explore how the role of physically making the print interacts with the development of ideas and associations in relation to the artists initial intentions.

It's just a pipe dream, as such, at the moment but I couldn't do this on my own and would need partners.
I wouldn't want for the project to be wide open either in terms of participants, in that there would have to be some kind of   'selection' process. Obviously if one wants for the project to be high calibre, then the standard of the work would have to be high. Having previously participated in portfolio exchanges - I know all too well, the dissapointment of receiving an unsatisfactory batch of return prints, of which for example two thirds, appear to have been done at the last minute and even then were not even properly finished or printed.

I have connections with a good number of what I consider interesting and professional printmakers so that's not so much an issue...........at this point in time it's partners coming on board who are willing to make efforts in relation to getting the portfolio exhibited and or to help with designing the layout of the book that are particularly sought.

Perhaps you have experience of using the Blurb book design software or have a facility for such things? Maybe you have some ideas about funding.    It could be that getting involved in a project such as this would be the right thing to do in terms of your own professional development.

If you haven't been completely put off by now (which of course isn't what I wish to do rather I want for you to realize all that is involved !

then please just leave a comment with a means of my replying to you.

Email me at aine@ainescannell.com

As a final footnote I wouldn't imagine this coming to realization until about 18 months time so roughly the fall of of 2011.

Marilee Salvator

2010-03-03T12:12:00.000-08:00

Isn't this gorgeous although I don't know that the artist who made this, would be altogether that pleased at my use of such a word, to describe it. The artist; Marilee Salvator (USA) is an internet friend of mine. This piece is from the "Circles Series".
The second image featured here is from a more recent series. in which she is combining inkjet and silkscreen. Quite a range of techniques are combined her including lithography, relief print and etching - as well as inkjet.

I have been in touch with Marilee, on and off since I first read an article about her on a web site called Myartspace, about 3 or 4 years ago. But I just think it's a great piece - I love how she has integrated the various techniques and of course as a lover of earth colours especially blue and green - it appeals very much to my own aesthetic. As well as being a committed and professional fine artist - Marilee is an educator in the field of printmaking. She is someone with her own authentic vision as well as having courage and style.

One of the installations or series that was mentioned in the article ( interview ) I found to be very courageous as she was exploring issues concerning childhood sex abuse. using a range of visual elements e.g., child-like drawings, instructional 'sex-education' literature, gendered materials, and stains of menstrual fluid.
Through the interplay of childlike themes and adult sexual imagery, Marilyn is seeking to throw light onto deep-seated confusion and scarring that sexual molestation can create.

Visit Marilee's portfolio website to see lots more beautiful accomplished work and there's a link on there to her blog as well as that interview I mentioned.

Lilian Ingram

2010-03-01T16:00:00.000-08:00

In her artists statement ( a thing which used to terrify me) Lilian Ingram says

"My work............ explores the idea of soul and the different metaphors used to communicate it.

I investigated this through both my pratical work and my thesis entitled 'Making the Invisble Visible: Exploring the Idea of Soul'.

We each know what it feels like to be conscious, to be aware of ourselves and our experiences, but it is very difficult to explain.

The concept that we humans are more than our body, that we possess an immortal soul is widely believed by many. My work explores the soul as something that is unique and inseparable from the individual as well as the notion that the basic constituents of soul/consciousness are raw feelings or sensations.
See some more lovely works by Lilian on her website at

http://www.lilianingram.com/page4.htm

Brodsky Centre for printmaking New Jersey USA

2010-02-24T12:58:00.000-08:00

The Brodsky Center in the Mason Gross School of the Arts, at Rutgers State University of New Jersey is a major research institution.

Their aim is, to enable artists, to create innovative art work using printmaking technology.

Artists are invited to engage in collaborations with resident master printers such as John C Erickson and Randy Hemminghaus to produce innovative new works – they also have the opportunity to collaborate with expert papermakers.

The works featured here are a selection of pieces those that incorporate inkjet with lithography, silkscreen and etching. There are further examples on their website

Sometimes the artists working there will be using the medium for the first time while others will already have a familiarity and expertise.
Their goal is to promote editions, paper and the printed image as central to contemporary art practice. This is undertaken by presenting lectures, courses, internships and exhibitions. They also run an artist in residence program, although there are no details posted on their website, concerning this, at present.

For more information and to see a lot more printmaking check out their website

Co incidentally I created a post about Nancy Spero who is an artist I have long admired over on my regular printmaking blog . It was when I heard that she had died - that was a couple of months ago.

Adam X aka (lifeapoptosis) from Wisconsin, USA

2010-01-02T08:42:00.003-08:00

Adam Is a 23 year old art student from Wisconsin who is doing a lot of thinking and reading during the first year of his degree course in printmaking at art school. He is trying out lots of techniques including litho, silkscreen, woodcut and etching. He seems to like to combine techniques amongst which he has been trying out inkjet with etching. From reading his blog which I came across recently it would seem that he really loves participating in figure drawing from life.

Christopher Clark, Jennifer D. Anderson and Carolina Espinosa

2010-01-01T09:47:00.000-08:00

Recently I checked out the “Littlest Print Exchange”website, in which I originally, was to be a participant. However because my ‘standby’ spinal surgery kicked in, for the end of June 09 I had to forgo my inclusion making hospitalization a priority – none the less I certainly was very interested to see what the other printmakers had produced.

Surprisingly out of fifty artists, only three decided to utilize digital print with traditional techniques for their edition, namely Christopher Clark (the co ordinator) , Jennifer D. Anderson and my favorite piece where the tradigital works were concerned Carolina Espinosa.

Participating artists were required to make fifty 3.5" x 3.5" prints. The idea being that each artist submit an edition of 50 prints and in turn receives a complete portfolio of 50 prints from all of the 50 individual artists.

I have also included some others here that caught my eye by Melody Knight Leary, Brett Grunig, Rakesh Bani, and Katarzyna Cepek.

You can see all of the 50 tiny prints here http://lpe2009.blogspot.com/

Tandem Press printmakers

2009-11-25T16:04:00.000-08:00

To see more of Squeaks work check out this website

check out this website to see more of Joan's work here

Check out this website here where there are a few more pieces although Sam does not have a dedicated website.

Sam Gilliam is a well established artist, who has tried out relief print with inkjet here. To find out a bit more about Sam check out this website.

Judy has a great website so do go have a look.

"Silicon Gallery Fine Art Prints" talk about tradigital artists they've worked with

2009-10-15T09:30:00.000-07:00

Sabrina de Turk phD art historian) presents the video

Here’s the website of the print place, where she is based

http://www.fineartprint.com/index1.htm

The artist printmaker mentioned in the video, Abercrombie, is linked to Philigrafika through their invitational portfolio

Here's their blog http://philagrafika.blogspot.com/

Oregon Inkspot 2009

2009-10-05T03:48:00.000-07:00

About her work Connie Carruthers, says" my artistic investigations focus on the physical aspects of who we are and on the quirky sociology of our habits. The surface of a face, the free flowing gesture of a body, or the silliness of a social convention, all help me understand a little bit more about who we are and why we do the things we do.

My struggle is to capture the texture of our heartbeat in whatever way it wants to be depicted. Regardless of the medium, the core of my work is humour. Irony, satire, and puns are a few of the techniques I use to engage people.

Media used by Connie include documentary photography, silkscreen relief print, painting, photography, sculpture and books which are for sale through her website.

It's very difficult to find any information about Torben Soborg but I remember he had a print in a previous Inkspot Oregon exchange that I particularly liked. He seems to work mainly using video. Here's a link to further info on his work

Dennis Raines, an interesting chap, has been featured in an interview on this blog and discusses how and why he likes to incorporate inkjet into his printmaking. His favored print process seems to be silkscreen although he also has worked with mezzotint. He seems to work with various art processes including drawing, photography and sculpture. To see more of what he has been up to of late check his Flickr photo album, which are organized into 'sets.
There are also some nice pictures of his 2 lovely cats Elli and Miles.

Jana Jakub, definitely like to create stuff on her scanner and experimenting with photography and composition. You can see more of her stuff on her Flickr album. Her print "Waiting Area" here, is made using relief and inkjet.

Chris Meyer also uses relief with inkjet - it seems quite popular with printmakers creating prints for editions although it might just be that it's the process preferred by the artists concerned. This print doesnt seem anything like the prints Chris usually does which are large monoprints with intaglio. You can see more of his work at Chris Meyers website.

Ida Kumoji's print linocut on inkjet features the background that is much more indicative of her interests as an artist." I am trying to create a new medium, by introducing elements from different cultures. This integration respects both languages, and the new language that is created maintains the forms of each respective culture". She uses "the Adinkra symbols were originally stamped in cloth, the repetition of alphabets to form these symbols brings the concept of the stamping from ancient craft to modern times" Visit the virtual art gallery at St Katherine University to find out more. http://www.stkate.edu/gallery/shows_06_cross/
http://www.stkate.edu/gallery/shows_06_cross/

David Mohallatee's print , "121608" is made using a bit of everything (well...almost!) here, inkjet, chine colle, stamping and woodcut. He has a page on Inkteraction but seems fairly busy as he has not uploaded any new work for along time. To see what prints/artworks are there check his page.

Last but most certainly not least is "Reflections" by printmaker Candace Nicol, who appears elsewhere on this site. A prolific printmaker, Candace has explored many processes in painting and printmaking as well as making assemblages. She recently initiated the 6 sides to every story project, an international printmakers collaborative project.

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Oregon inkspot is an international print exchange that has been on the go for a few years now and you do find some good work there, although the standard is variable. Some printmakers enter just the one time though a few, have participated two if not three times.

It was set up by Deb Hoffnagle and Jo Topholm. Kathelene Galloway is now the vice chair and always seems to contribute really lovely pieces.

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Elizabeth Catlett

2009-10-02T15:25:00.000-07:00

Here's an artist I never knew about until I came across this piece in IPCNY's archive of exhibitions within its "New Prints Programme Elizabeth Catlett. She seems to be held in high Esteem and has been making art for many a year now. Sculpture and printmaking being her two preferred mediums. Heres a link to more of her images and no doubt more information as to her long and illustrious career. Quite a woman it seems.

Inkjet and Mezzotint - Francisco Souto

2009-09-25T09:07:00.000-07:00

With reference to actually combining old and new printmaking technologies Francisco Souto

says " it represents the perfect vehicle to create a body of work where the subject matter is recontextualized and disjointed by pairing objects in sequence of optical moments. It becomes the expression of complex relationships."

Jenny Schmid talks about her work at the Soap Factory

2009-09-18T16:11:00.001-07:00

You can see more of Jenny's work on her website Bikini Press

Jo Horswills prints and blog

2009-09-18T06:45:00.000-07:00

I rather liked this print I found on Jo Horswill's blog which I clicked on because it came up when I did a search for information pertaining to the gelatin monoprint process.

Jo's Blog makes for a 'familiar' feeling read and I like that she talks about her printmaking processes as well as many other things. The story behind the making of this print of Jo's is really lovely.

Having seen some videos about the gelatin print technique on You Tube I became convinced that it would be worth trying it out after all. I say this because I initially was dismissive of it. Maybe it's because I recently, did a few days of water color based monoprinting myself, following my recovery from my spinal surgery that I now feel more like I want to try it out.

But NO !! I think it's actually SEEING SOMEONE DOING IT - thats what it is!!

The video I watched was by Linda Germain. I am just thinking that this will be a good print technique to combine with inkjet, as in 'the meeting of high tech with 'kitchen sink' !!! Check out Linda's blog too which is listed on her main website.

Mary Taylor

2009-09-17T02:51:00.000-07:00

http://marytaylorart.com

Mary Bookwalter's excellently integrated Tradigital Prints

2009-05-08T03:05:00.000-07:00

I first came across Mary Bookwalter's work about a year ago and as a fellow printmaker remember feeling quite excited about the kinds of things, she was getting up to!. Mixing monoprint with inkjet, collagraph, hand stamping, woodcut, stencil...whatever worked. She initially displayed works with inkjet transfers, later with the traditional techniques worked directly into the inkjet.

Her work was featured in 2003, in an exhibition curated by Dorothy Simpson Krause of Digital Atelier. This show explored artists using inkjet as a major component of the artwork. The exhibition was called "Digitally Speaking"

Well worth checking out.

David DuBose

2009-04-22T12:53:00.000-07:00

I met David round about 10 years ago when I went for an interview to Seacourt Print Workshop in Northern Ireland for an artists residency. I was not the person who was selected but it was a fun frantic day of immense contrasts as in the rush to the airport from busy busy London for the early morning flight through to Belfast where I was visiting for the very first time.

Then the drive from the airport through very different neighborhoods till I arrived at Seacourt. I had my interview with a panel of people of which David was one of the people and I can not remember much about it other than that it was fine - it was informal and friendly. Quite probably they didnt select me because I am not a highly competent pritnmaker in a technical sense although I would hope that they did find me 'interesting' as an artist.

Whatever ....in the afternoon Jean Duncan one of the founding members of Seacourt took me to her house and I just hung out there until it was time for me to get dropped to the airport for my flight back to London. It was a sunny day.

I have recently reconnected with and become'friends' with David, through the printmakers community website Inkteraction.

A very experienced printmaker David always seems to be exploring possibilities within his fine art practice and this includes playing around with inkjet and painting - as well as printmaking!"
Davids website is well worth a visit - there really is a lot of interesting work to look at!!

Justin Strom and Malynda Poulsen Jones

2009-04-12T16:05:00.000-07:00

Malynda Poulsen Jones

Malynda Poulsen Jones - has an interesting website, where you can see her working in various media - take a peek - it's http://malyndapoulsenjones.com/home.html

_____________________________________________________________________________

Justin Strom

See more of Justins work on http://www.justinstrom.com/

More from Inkspot Oregon

2009-03-31T15:02:00.000-07:00

Just a few more pieces from Inkspot Oregon's most recently documented international print exchange portfolio. I had considered entering for this this year i.e., 2009 but I didn't think I'd have enough time to do it justice - although to be frank, I have often been disappointed with the prints I have received in exchange portfolios.

Been sort of left with the feeling that some of the other artists just haven't dedicated enough time and commitment to their pieces and they have instead output some rather rushed if not half hearted efforts that surely they wouldn't want to act as a representation of their worth as an artist. What are your thoughts.?

Having said that I do by now have a considerable print collection upstairs in the vault (only kidding) - it's the big cupboard in the office where we keep all the photography equipment and portfolios.

Apologies for the images being so small. It was all that was available.

The only link for these artists was Nate Bench's website.

Candace Nicol's website is within the previous post

Learn to make tradigital or Hybrid prints with CANDACE NICOL

2009-03-31T04:25:00.000-07:00

Hybrid Intaglio Printmaking

Dates: July 15-17 (Wednesday - Friday)

Cost: $250 including 2 nights lodging - Wed. Thurs. - (meals are organized
between participants)

Deposit of $100 to SMAC by June 30.
Please call (775) 847-7774 or E-mail:
smacenter@earthlink.net Linda Nazemian, St. Mary's Art Center, Inc., PO Box
396, Virginia City, NV 89440
Instructor: Candace Nicol
Description: Artists will combine Solarplate etchings with collagraphs and
digital chine colle, to create interesting hybrid prints that combine
photographic images with layered textures and designs.

This 3-day workshop is designed to explore hybrid intaglio/digital
techniques. This is a class for any artistic level and no prior printmaking
experience is needed. The following techniques will be taught: Solarplate
printing, collagraph printing and digital techniques with chine-colle. (We
will be using an Epson 2200 printer and I will have my laptop. If you have
your own lap-top, that would be great. If not, bring images burned on a CD
or USB drive.)

Tom Phillips and Ron Pokrasso

2009-03-26T03:11:00.000-07:00

Have you heard of either of these artists ? - it's quite likely that you have.
I first became aware of Ron Pokrassos artwork because of an image of his which I really loved. It was in a book I had (still do somewhere) by Julia Ayres (Ayres, J. Monotype. New York: Watson Guptill Publications, 1991.)
At the time I was trying to get somewhere with Monoprinting which was my first love in the realm of printmaking. I don't think I had my own etching press, back then, so quite a few of my efforts were in vain. But that's another story and I digress.

It looked something like this image ( i.e., the image by Ron, that I particularly liked). He had made an etching which he then made monoprinted 'areas' onto, so that each time - it went through the press - it came out as a different image, with the central character (as such) remaining constant.

I seem to remember that there was also a reference to his work, in my main printmaking technical manual until recently namely "Ross, J., C. Romano, and T. Ross. The Complete Printmaker. New York: The Free Press, 1990".

It's good to know that artists such as Ron also work or at least have experimented with Inkjet and traditional printmaking. Check out more of Ron's work at his very organized and extensive website.

_________________________________________________________________________

I believe that most artists will have heard of the work of Tom Phillips and particularly his work "Humament" which is his most well known piece.
He has a website dedicated to it. In fact whilst there - I discovered that its possible to see a slideshow of all the pages in this renowned bookart piece.

Whilst there I became aware that Tom has been using the medium of printmaking for quite some time See more of his works at his website.

More from IPCNY

2009-03-25T15:54:00.000-07:00

Just a quick post with some recent finds at good old IPCNY (click on post heading to link to IPCNY).
Fistly Joe Waks - see his works on his website which is still under construction ( know the feeling Joe!!) Everything that isnt about actually making the works is such a drag.

The other artist whose name rings a bell is Robert Mueller - his website looks a little more finished ( I'm no one to talk !!) and I get the impression that he's a busy bee too.

North Drive Press

2009-03-19T17:06:00.000-07:00

North Drive Press is an annual art publication which launched in 2003. Each non-thematic issue contains interviews, texts, and multiples of all sorts, including prints, produced especially for NDP.

N D P has afforded a huge number of artists with the opportunity to produce and cheaply distribute new works in multiple form. It would seem that 2008 was the final annual publication.
Here are some images from NDP

Art For Humanity

2009-03-19T16:45:00.000-07:00

Put simply “Art for Humanity” is an arts based project based in South Africa that I came across recently through Jan Jordaan. He is one of the main driving forces involved in this admirable and ambitious non profit based project. Located in Durban, and with an international ethos, it organizes research that advocates human rights issues.
The means of undertaking these can be in the form of e.g., print portfolios. exhibitions and billboards, all aimed towards social education and development.

Their website --- Ignore the “gobblygook” code at top of page and scroll down to settle into viewing the website where you will findinformation about previous and ongoing projects.

In 2007, "Women for Children” was one such project. An international print portfolio which invited 25 artists and 25 poets to participate by contributing work that addressed and raised awareness on the matter of children’s rights.

Included here is an image by Avitha Sooful and poem by Lebogang Mashile

My world in Mama’s hands
Lebogang Mashile

My world is in Mama’s hands and in Papa’s lap

On Oupa’s shoulders and on Gogo’s back

My world is an unformed promise

As soft as my flesh

Laced with a ferocious warning

Not to harm a hair’s breath

A different hue of love is calling

One compose of rivers wept

By those before me who prayed for morning

I crawl on their steps

In Mama’s hands and in Papa’s lap

On Oupa’s shoulders and on Gogo’s back.

I am a new day

Touch me gently
There is no going back.

Lefatshe la ka Matsohong a mme
Sesotho translation: Mohau Letsie

Lefatshe la ka moetshong a mme hedima ntate

Mahetleng a ntatemolo le mokotlong wa nkgono

Lefatshe la ka ke thepiso sa hlophiswang
Le bonolo jwaloka letlalo la ka
Le tletse dihlokomediso tse bohale
Hore ho seke ha utlwiswa moya bohloko
Mofuta o fapaneng wa lerato o ntse o bitsa
O tshwanang le noka ha e lla
Jwaloka bao ba tlileng pele ho nna ba rapella mafube

Ke kgasa mehlaleng ya bona

Matsohong a mme le hodima ntate

Mahetleng a ntatemoholo le mokokotlang wa nkgono

Ke letsatsi le letjha

Ntshware ka hloko
Ha ho sa na ho kgutlela morao

________________________________________________

Click here to go directly to the ‘Women for Children” project page and to also view the “Dialogues” project currently in development which will be launched around the time of the 2012 World Cup Football tournament.

_______________________________________________

You can also visit their blog
which includes documentation of some of their workshops with various groups in community settings in the region.

Inkspot Oregon - artists incorporating Inkjet

2009-02-04T03:58:00.000-08:00

This is a selection of all the artist, incorporating inkjet, in the 2007 -8, international print portfolio exchanges. They use silkscreen, relief, intaglio and chine colle.

CLICK ON IMAGES FOR BETTER VIEW

Jenny Hyde's work and link to her website

Jennifer Hines' website

Keri Cushman - NO URL/WEB Presence

ChenChiong-Yiaox - no web pages

no web links for Ruth Bravetti

Recent Discoveries + Candace Nicol + Kelda Martensen

2009-01-07T15:27:00.000-08:00

Candace Nicol I originally came across through 6 Sides to Every Story, of which I am a participant. I just found the idea of this project very appealing.

CLICK ON IMAGES TO SEE LARGER

This artist has a lot of energy, no doubt about it - it's reflected in all of the projects she has immersed herself in and I imagine she is hard pushed to get it all done. Her printmaking is energetic and I like it very much whether it be her "traditional" printmaking or her inkjet combined pieces. Really it's just another tool in the box - that's how I see it too. But all the same I think that when you are starting out - to incorporate inkjet into your printmaking - it's always of interest to see how your peers are approaching it.

CLICK ON IMAGES TO SEE LARGER

Another recent encounter has been the work of Kelda Martensen, I find her work to have something in common with Candace although I cannot say what it is. I am beginning to find more and more exciting artists working tradigitally so look out for lots more interesting artists to come.

Heather G Foster, Deborah Grant + Arvon Wellen

2008-12-06T15:26:00.000-08:00

Heather G Foster

Heather is an English woman who lived for a time in Nigeria and is now settled in Yorkshire in the north of England. Heather seems to mainly work at making images of landscape type subject matter with some abstract compositions thrown in to the mix here and there. Her main printmaking technique is intaglio etching with some collagraph and drypoint. She also uses screenprint, mixes media with the use of collage and other materials.

Deborah Grant

Deborah Grant is an American, based in New York, who works out of the Lower East Side Printshop. She takes her subject matter from modern art history itself as well as from contemporary culture. She uses whatever medium suits her content too - ranging from straight forward 2d work to "print objects" (such as the Marlon Brando piece featured here), as well as sculpture and paintings..Deborah exhibits throughout the USA.

Arvon Wellen

As a printmaker Arvon has used, and continues to use, traditional methods of printmaking such as etching and screenprinting. But for about the last fifteen years he has mostly made digital prints. He often combines processes making multi-layered prints with both digital and etching techniques.

"Bimpe V" Miniprint 2008

2008-11-02T14:51:00.000-08:00

Something or other took me over to the Bimpe Miniprint website and I thought I'd see if there had been any prints which integrated inkjet into the mix. I found three prints and include two of them here as one of them, by Jana Sasaki I had seen previously on the Bimpe website. In fact it's on here in my post for the 2007 Bimpe miniprint selection.

The 2 artists selected were Rosamond Norbury whose name I know I have come across before and Barb Snyder whose name is also familiar. I couldn't find a website or blog for either of these printmakers although I did find a little biographical information about Barb Snyder.

"Barb Snyder has a Bachelor of Science degree in Zoology from the University of B.C. and has taken numerous courses in Fine Arts through both U.B.C. and Emily Carr College of Art & Design. Barb has participated in many print shows at both Dundarave and Malaspina Printmakers and experiments with numerous forms of printmaking, in particular, working from personal photographs, often from nature."

Wikipedia references this website

2008-10-12T16:19:00.000-07:00

Oh what fun .......nice to know that someone knows that we are here creating this resource.

The image is by Anne Seidman MA (Ohio State University) has exhibited widely, both nationally and internationally. Her work is in the permanent collection of the Philadelphia Museum of Art, Arcadia University, Bryn Mawr College and the University of Wisconsin-Milwaukee.

She is represented by Schmitt/Dean Gallery in Philadelphia.

Click on the image to enlarge and see the info/details about the piece.

Marissa Keller, Dutch artist, based in Singapore

2008-10-03T06:37:00.000-07:00

Yesterday in the course of researching technical information concerning aspects of the A.R.E., acrylic etch resist, process - I came across Marissa's work and I particularly thought her most recent body of work called " Jendela Draw Print Book" was quite impressive.

It's a series of images made using intaglio relief and inkjet printmaking. In the images which are manifest to an extent beyond the usual two dimensions, we see the whale, elephant, tiger, rhinoceros and the sparrow. This latter creature being the focus of the work below called House Sparrow.

Marissa Keller M.F.A., lives and works in Singapore since 1993.

From 1988 to 1993 she held positions as an art educator at different institutes in the Netherlands, where she used to live.

In 2006 she established her own art and printmaking studio, where she creates art works, paintings and prints.

Graphica Creativa

2008-08-11T07:29:00.000-07:00

Recently I had reason to visit the website of Graphica Creativa, based in Finland and I came across these two Finnish printmakers making prints in a tradigital manner.

Grafica Creativa’s website lately does not seem to be functioning properly although it ought to contain archives of the numerous triennial events that it has presented.?
I cannot remember how exactly I found these but none the less here they are.
I seem to have the recollection that they were featured in Grafica Creativa 2005

In 2005, they celebrated their 30th Anniversary and presented their 11th International Print Trienial. There were four exhibitions on that occassion, Ritva-Liisa Virtanen and Jokke Saharinen featured in one of the events called Finnish Open". It was held at the Jyväskylä Art Museum.

Ritva-Liisa Virtanen

Ritva-Liisa Virtanen is a well established and experienced fine artist from Savonranta in Finland. . Apparently to begin with she worked as a graphic artist and more recently has been involving herself in installations and has been using a wider range of techniques within her work. For example in a recent exhibition she made a wax cake to be situated on a table,that was part of an installation or performance as part of Tina B
The whole thing was linked to The Prague Contemporary Art Festival

About her print Ritva says « oil is the origin of cowboys and plastic soldiers. Wisdom of the bees is that their honeycombs keep giving giving birth to new bee generations. Real soldiers set out to fight for oil, and at the same time billions of bees are hatching out of their combs. »

« Jokke Saharinen »

Co incidentally Jokke Saharinen work also uses beeswax, it was shown in the same exhibition as Ritka’s and received an honorable mention. I could find no further information on Jokke that I could decipher linguistically.

Jana Sasaki, David Kolic and Michiko Suzuki

2008-08-04T04:06:00.000-07:00

Jana Sasaki is an artist whose work I came across on the Bimpe website. I actually had a print in their very first annual miniprint competition. No catalog that year as far as I am aware. I am not too sure that they do one now. I will update this post – if I find out what the situation actually is, where that is concerned.
href="http://www.sunpeaksnews.com/v2i3_arts.htm ">
BIMPE V - The Fifth Biennial International Miniature Print Exhibition

If you would like to find out more about Jana, as an artist please see this article
on Sunspeak News

Robert David Kolic

All I can tell you about Robert David Kolic is that he attended Capilano College, Vancouver, British Columbia, Canada – one presumes reasonably recently – that’s as much as I could gleam.

Michiko Suzuki

Hailing all the way from Tokyo, Japan is I think, quite an interesting and talented artist - Michiko Suzuki.

She likes to experiment with different media and that extends to her substrates which include papers both Eastern and Western. Her repertoire includes toner-etching, drypoint, collagraph, woodcut, silkscreen, metallic pigment and stencil.

If you visit her page at the her page at the Bellvue gallery, Vancouver you will see some inkjet prints in her folder to begin with followed by a number of very lovely mixed media prints.
It’s a flash enabled website - so just click on gallery artists at the foot of the page and on the list at your left check for “Michiko Suzuki” towards the end of the alphabetical list.

Interview with Dennis Raines, Artist/ Printmaker

2008-07-19T06:28:00.000-07:00

Aine: Firstly, Dennis I’d like to thank you for agreeing to have this interview, and giving of your time.

Dennis: No Problem, anything to share what I do.

Aine: These are questions thoughts that have occurred to me as I have looking through your artwork. As you are aware, Dennis, Iammainly, viewing the ‘tradigital” prints, as this is the particular focus on my blog.

Dennis: Excellent I find that there are few forums to discuss “tradigital” printmaking, typically it's explicitly one or the other: hardcore traditional or hardcore technology/new media, never a blend.

Aine: What I was wondering was……………… how long have you been a practicing printmaker?

Dennis: I've been a practicing printmaker and artist for the last 10 years, including my time as an undergraduate student and graduate student.

Aine: Were you working as a more “general” fine artist prior to that………..or what? Did you or in fact do you paint at all or have you used any other medium?

Dennis: Actually during my time at art school, in the very beginning I had originally intended to be a painter and didn't really know what printmaking even was. I ended up studying printmaking early on as a fluke by needing to take a certain number of class requirements. At the time I didn't know that it'd stick with me long after the initial class.

Aine: In your work as a printmaker – what were the processes you worked with initially?
Was this influenced by the facilities that were available to you? Did you have access to a print workshop?

Dennis: Initially as with most people- I worked in relief in linoleum and wood blocks “here and there” but never seriously studied it. It wasn't until college when I was introduced to intaglio that I understood it as a mature art medium.
Yes facilities played a large roll with my introduction to printmaking. My undergraduate schooling had a fabulous world-class print facility. Yes. As a student I had access most of the day if there wasn't a class in session. And through the years I've had access at a variety of co-ops or print facilities at schools I've taught at.

Aine: Were there certain processes that you felt suited your ‘style’ as such, or was it a case of you wanting to try out everything e.g. screen-printing, intaglio, woodcut litho etc.??

Dennis: Largely Intaglio. It was my first “true” introduction to the printmaking discipline and it stuck with me more than the other mediums I tried. However based upon the initial idea- or facilities available- the medium does tend to change. However intaglio and mezzotint are always going to be in a soft spot for me, and if I have facilities available at the time I try to get my time into them.

Aine: I see that you studied for a bachelors and a Masters degree ……………was that important for you -- I mean to undertake a master’s degree?

Dennis: For the bachelor's degree it was necessary. Art is one of those fields that one doesn't need a degree in to be a professional- but it helps a great deal. In theory I could have learned everything I did on my own- it just would have taken eight times longer and I probably wouldn't have studied printmaking. So for my undergraduate experience I'm quite grateful for it.
I went directly into a master's program after my bachelor's, and finished in 2 years. It was important for me to do a master's sooner than later. My reasons for doing so were two fold I wanted to continue my own “research” and gain the necessary credentials to teach.

Aine: Was your course a good one? Did the educational institution you attended - have a “house style” as such, OR were individual expressions/ identities encouraged. Do you feel that you were ‘tutored’ in its refinement / sophistication?? i.e., to take it to perhaps a higher level??

Dennis: I suppose yes, as the events lead me to where I am now. My undergraduate experience was very structured in a highly traditional printmaking environment, however there was no “house style” in the studio- we were encouraged to explore where ever the medium took up personally- self expression was pushed greatly at Cornish College in Seattle- where I attended.

Technical medium and process were kept slightly separate from content. So there was a large push for refinement of skill. My graduate experience at the University of California at Davis was more for independent work, that's where the digital aspects of my work started to become apparent, and where I first became an instructor of art.

Both my undergraduate and graduate schools were mixed interdisciplinary programs, which allowed for quite a bit of freedom expression.

Aine: What did you hope to get out of immersing yourself inside that process (of doing the M.A.)?

Dennis: Mainly for teaching credentials, and more solo work time to explore with minimal amounts of faculty peering and “baby sitting.” Graduate school was also more like a 2 year residency, so I didn't have to worry about “paying bills” much as I would have had to do “in real life” after finishing my bachelor's program.

Aine: Did these hopes become realized to a greater or lesser extent?

Dennis: To a greater extent they were. I went down a fairly different path with my work from where I started at the end of my bachelors program, I had finished there by making a series of 10 mezzotints (“one of my favorite things” etc), to making digital prints in graduate school. My master's program was fairly grueling, often feeling like I was in a war zone. Mainly from the everyday politics of the department. Much of the departmental politics were shielded as an undergraduate – but I in a master's program I could see the inner workings which can be a highly frustrating experience.

Aine: Now I ‘d like to ask you about how you arrived at a situation where you started incorporating digital along with traditional printmaking techniques??

Dennis: I had always played around with the idea of incorporating digital medium with traditional printmaking when I was an undergraduate- but the technology wasn't “quite there” in the 1990's when I was a student. The technology finally caught up when I was a grad student in 2001-2003. A lot of the digital output I was using couldn't take the abuse of being wet or being ran through a press until really only a handful of years ago.

Aine: Do you remember the first one you did? Is it viewable online or is it “secreted away” somewhere?

Dennis: Hah, I think with enough time- all of my work gets “secreted away.” I think my first direct tradigital print was the intaglio, chine colle print “Homeland Security”. It was in my masters thesis show, it's 32 X 24 inches and I tried to “go out with a bang” and make the biggest print possible for my first venture into tradigital printmaking.

Aine: Can you say what do you like about working in this way - i.e, tradigitally?

Dennis: For the most part I was trained and used a computer since I was really a child and learned academic art and drawing when I was an adult in college, so there was a certain amount of familiarity there for me, that I'm not sure I would have had if the situation were the other way around.
But I noticed that I was trying to blend the two mediums together - not have a traditional print with blatant digital components smacked on top.

I wanted to integrate the two and use it (the digital) as “just another tool” for my own ends. Also - now that it's been a few years since I had the free-time of a student, I've found that utilizing a digital component also can save some time - albeit only a little as it is still time consuming.

Aine: oh what is your physical set up..........do you work from a studio in your home or do you only use an open access print workshop?

Dennis: I currently work out of a home studio with my digital set-up and silkscreen set up. I usually work with intaglio if I'm teaching a college course and utilize the press - or work with a local co-op where ever I happen to be living. I had been living in California in San Francisco up until a year and a half ago, moving to Seattle for a teaching position.

Aine: For digital print – what kind/size printer do you have e.g. A4 or A3+, or larger ?

Dennis: I have an “old” work horse, and Epson 2200, which prints Super B (13”X19”) and has a width of 13” and a length of 44” I believe dependent upon paper size. It prints on a wide variety of surfaces, and paper types.

Aine: Is it a pigment printer or a dye based one?

Dennis: It's a “pigmented-dye” ink, whatever that means. It's rated to have a “100 year life” on printmaking paper, and the ink is waterproof- allowing for the “press abuse.”

Aine: Do you use ordinary typical printmaking paper e.g. Fabriano arches rives BFK, Hahnemuhle etc
OR do you use the printers specialists ‘proprietary’ brands e.g. Epson papers and so forth.

Dennis: For the most part I use almost exclusively printmaking paper - with much success on western and eastern papers.

Aine: Perhaps you use all sorts of paper?

Dennis: I have recently used coated papers made for digital printers in conjunction with silkscreen. I found that the special coating works well with silkscreen.

Aine: Do you give consideration to the question of "archivibility"/ permanency? What are your thoughts on this aspect?

Dennis: I'm less concerned about “archivalness”- as more then likely, the work will out live me by quite a few years.

Aine: Do you get the overall idea for the “finished print” first and then plan out how you will realize it?

Dennis: A little of both. I plan things out meticulously, and then execute. However even in a digital setting, I still have to make adjustments and changes. Some times the changes are little, other times there's no resemblance at all in the finished product.

Aine: Perhaps you print out “backgrounds – I do this myself) and then try them out by printing on top of them with a woodblock or other “print plate”?

Dennis: I had originally started using the digital components as a background- but have branched out and have digital components in different aspects of the work. There are some parts which are about 90% digital and others that have none in the final product- but I use Photoshop as a drawing/drafting tool.

Aine: I note from your CV that you teach and wondered if your students show an interest in integrating the old and the new printing technologies. ??

Dennis: Some do, some don't. If they have an interest and the facilities, then it opens up another avenue for creation.

Aine: Dennis -- it would be interesting if you would talk somewhat about the ideas with some of your prints?

There's a recent one, called, “I’ll hide away for another day”.

How did you go about making that piece. I was wondering whether the trees that are layered behind the transparent red, have any bearing on the title/meaning ? Is that little container jar supposed to, in a way, be like a little desert island ‘away from it all’, an oasis perhaps? Those are just my thought.... when looking at the piece ?

Dennis: “I'll Hide away for Another Day”
has two meanings. One that I get from most observers, is an environmental one, saving nature and the ecosystem while it's still around, hence the red used as a warning colour. The other meaning, is that which you have interpreted. It's about hiding away from everything, just to get away, everyone has a pocket oasis somewhere.

Aine: In “There doesn’t seem to be anyone who agrees with me”, did you print the couple in the background first and then perhaps print the cigarette pack on top using something like a hard ground etch? Is that piece to do with being a smoker in a non-tolerant world or perhaps it’s to do with religions and intolerance? that said - as I notice the ‘icons’ on the cigarette pack? Is that printed on “albaca” paper or something similar ?

Dennis: With “There doesn't seem to be anyone who agrees with me” I was going over the history of smoking in the world, and the nostalgia of smoking and the totally different view of smoking in the past and touching upon the world universality of smoking (for better and worse).

Technically speaking there's chine colle sheet with the couple digitally printed on it, and the pack of cigarettes is just a simple line etching and aquatint.

It's a little more obvious with the digital component compared to other's I've done like “thinking back to god knows when”
which is less obvious (to me anyway), and the other prints I'm currently working on. The paper is a sheet of Hanemuhle copper plate, and the chine colle is a heavy weight Mitsumata.

Aine: The other piece I would appreciate you talking about is “Homeland Security”?

Dennis: “Homeland security” is a piece that was part of my master's thesis show from 2003. I attended graduate school directly after undergraduate school and moved from Seattle to California, and was quite excited to start my new life in my new home, and had moved to California on the night of September 10th 2001, making my first official day of my new life the 11th. Which wasn't the best was to start. The print came about from the politically turbulent years that followed, which made me quite the jaded student, with what was going on socially and politically in America at that time. People were scarred to death of everything to the point of stupidity, and giving unchecked power to the very people who were in charge at the time.

So from a technical stand point I wanted to make a statement and make the largest intaglio print possible. I combined for the first time direct digital components, I used 3 plates all at a size of 24” X 32” with a large chine colle piece (the yellow) and 20 smaller singular pieces of chine colle (the “pages”). I used the large press available to me, which was a custom built Hunter Penrose Little John press, that had a press bed that measured about 48” X 36” or so- and printed wonderfully. Before I stated my graduate studies, the press was used as a table. I like to think that I made an impression while I was there, but realistically it's probably a table again today. Strangely because of the graduate school department, there was a huge push for digital everything, to replace anything and everything traditional- including printmaking which was seen as “quaint.” That mind set is what contributed me to work in the fashion that I do now- using digital seamlessly as another tool in printmaking. I made a giant staggering edition of 1/1 with that print, due to the complexity. I wanted to make both digital and traditional media exist in harmony with each other. I started using the term “print media” instead of printmaking.

Aine: Is it printed on pages from a book or something along those lines or perhaps it was your intention that the digital print ‘ground’ as it were, should give that ‘semblance’, that ilk ?

Dennis: The images used were taken from the department of Homeland security which was created post 09/11/01 in the United States. They had made a pamphlet with “what to do in emergencies” which are all fairly ridiculous and did nothing but monger fear. I chose to have them be in a grid like fashion in each on it's own, trying to represent some sort of order, but chaos ruled it- representing the text over everything.

Aine: I notice that you don’t seem to have tried woodblock with digital print - do you think you might?

Dennis: No I haven't, it's one of those things that I just haven't tried yet. Mainly because the more linear intaglio and the method of silkscreen have given me more interest through the years than relief has, but I do have some ideas at some point for relief. It's just a matter of getting there.

Aine: Finally what artwork are you focusing on at present – what are you making. Is it for a particular exhibition/ portfolio or a series with which you are long term engaged?

Dennis: There's no end goal currently with the bodies of work I'm doing presently. Although showing is always bouncing around my mind - as is a tenure track position at a college (I'm only part time adjunct at the moment), but as of now I'm just having a blast making what I'm making.

There's a variety of work currently, a “large” series of digital + silkscreen prints.

I'm also doing a series of “art products” like my “Jackson Pollock Pale Ale” beer, strangely I consider these to be print media, as they are editioned and mechanical reproductions.

And also, I've started to paint again, which I hadn't' done in quite some time and they're far from being "showable" at this point. All in all even working in a variety of mediums and embracing digital tools - at heart I still and always consider myself a printmaker/print media artist.

Thanks for giving me this opportunity to share.

Janet Curley Cannon

2008-07-12T06:44:00.000-07:00

Janet Curley Cannon

In her work, JCC investigates the characteristics of surface within the urban environment. Mainly those that are desolate, neglected and decaying. Textile remnants fractured paint surfaces and twisted reflections are amongst those indicators of lives lived and times past that fascinate her.

Processes Involved in her modus operandi include drawing, sketching and photography. She is an artist who likes to combine and mix media with both traditional and digital techniques. In more recent times she has made a large number of digital collages in 2d and 3d. Another mode of output has been a video animation which you can view along with all of her other works at her website

Her work is also currently on view in "LOOP08" which is an artist collective that exhibit at various UK venues thus far. The exhibition being held at the Menier Gallery in Southwark, London UK. July 1 -12th, 2008.

Tradigital Printmaking by Linden Langdon (2)

2008-07-11T13:42:00.000-07:00

This print ( as with my previous"tradigital" print) also uses a digital layer to create the background. The print was produced as a collaborative work with a writers group, who came up with short and interesting word groups for the printmakers to respond to. We only did a small print run, and as there were quite a few participants it was decided that only archival copies of the finished book would be made. Only 8 prints were made.

The digital layer is a photo of ice on the roof of my car! The morning sun made some beautiful light contrasts and I adjusted the colour a little in Photoshop. I added the text in Photoshop as well. Then the etching layer and finally the seahorse which is a lino cut.

Linden Langdon

Joan Stuart Ross + BODY PARTS series +

2008-05-16T14:52:00.000-07:00

Joan Stuart Ross, on her most recent series, says

"My recent mixed media prints combine relief, monotype, digital images, hand stitching, collage and encaustic on vintage book pages. They are influenced by how, throughout history, body parts of ancient cultures’ sculptures have been joined, willy-nilly, to create hybrid forms and disparate personalities. I see these buried figures, discovered in midden heaps and under piles of wars’ refuse, as motifs that emphasize vulnerability and triste, a mournful quality from their having been thrown together from incongruent parts—a lamentation for our own time. These personalities have had a place in their found environment, and when unearthed, they take on new life".

Joan Stuart Ross studied at Yale, and earned MA and MFA degrees from the University of Iowa. She won SAM’s Betty Bowen Award, a NIAUSI Rome Fellowship, and has had residencies in Paris and Norway.

Perter Foucault, Nigel Oxley and Sue Patterson

2008-04-29T08:37:00.000-07:00

Peter Foucault

Peter Foucault's print was part of the Print Zero's Fifth International Print Exchange. Print Zero exchange Number 5, (2007) Be prepared for a lot of looking - there are over three hundred odd prints on view !!

In trying to discover more about Foucault as an artist, it felt like he was just all over the place/ difficult to put your finger on and so I felt that a recent solo show, of his (co-incidentally) at Print Zero studio,
provided a welcome focus although I don’t know that I am necessarily further enlightened. However one must make ones own judgements.
When one considers that Print Zero, has had five print exchanges by now, the there is quite a considerable amount of prints to be seen at their current website:
Print Zero Studios

Nigel Oxley

I was prompted to search out his artwork through reading an article in Printmaking today, which discussed printmaking experimentation in etching. I thought I would maybe find work that would be really interesting.
However, the print featured here, was/is the only artwork I could find, i.e., created by Nigel Oxley.

He is a former master printer of the Kelpra Studios, which was
established in the UK, in the 1960’s. Apparently they introduced the practice of using silkscreen printing in fine art printmaking. One imagines that until then it had been used exclusively in the commercial sector.
All of the well known UK based, artists such as Kitaj, Tilson and Blake would have taken direction/collaborated with Oxley and his colleagues. Kelpra also worked with many of the well known American artists such as e.g., Dine, to produce prints and edition. It appears that Kelpra studios is no longer in operation.

As well as working as a senior lecturer at the Metropolitan University, London, Oxley
is also the author of the book “Colour Etching” published in 2007 by A & C Black, London

With regard to more recent activities in printmaking, Oxley has collaborated with artist, Susan Aldworth in the production of experimental etching techniques. Her artwork explores various aspects of the human brain.

Sue Patterson

Another rather elusive persona is that of, Sue Patterson.
She undertook her Masters in Printmaking at the Tyler School of Art, which is part of Temple University in Philadelphia, USA.
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She has exhibited at Temple Gallery, Vox Populi, , , Fabric Workshop and Museum, The University of the Arts, Moore College of Art and Design in Philadelphia; and , DE. She has been awarded Pennsylvania Council on the Arts grant in sculpture, and her work is in the collections of Sunoco Corporation among numerous private collections.

Teague, Jones, Kreuger, Labuz and Raines

2008-04-02T16:03:00.000-07:00

Lets start today with a couple of pieces I found by Clare Teague both using inkjet print with silkscreen. She is either just about to graduate or has just �� I can��t remember which. But she says that she is interested in combining the two processes i.e., traditional printmaking and inkjet.

On a more curious note is the work of Claude Jones whose works are described as ��biobobular�� (it is unclear if this was her own description or that given by another)? The title of the works as in ��Neo-Nates�� and ��Imperfecta�� give an indication as to this artists concerns. Her pieces use intaglio, inkjet and wax.

Next we have a print by Andrzej Labuz (Poland) who uses drypoint and inkjet. I came across his work in the documentation of an exhibition held in 2004 in Thailand. He won joint first prize for this piece which although we cannot see physically gives to me the sense that it is well integrated conceptually and technically. No further references were available on the web concerning Labuz; although of course with my severely limited language skills in Polish it might just be a question of interpretation as opposed to publication

Last but not least are a couple of pieces by Michael Krueger who uses Lithography with inkjet.

Dennis Raines

Look out for a forthcoming interview with artist Dennis Raines about his printmaking practice, using inkjet and whatever else suits his wide ranging and witty ideas, sometime soon !!!

Johnny McMillan, Joan Stuart Ross, Michelle Boehm and Zebadiah

2008-03-31T16:34:00.000-07:00

Quite a mixed bag this time – there’s Johnny (Johnny McMillan) who I first came across on Flickr. He’s from Ireland, in fact graduated from the NCAD in Dublin, a few years back. The print here is from his graduation exhibition. He said it was an absolute awful hassle to make. I get the impression J. is not doing anything in terms of printmaking nowadays as he has moved to Australia and seems to present himself primarily as a photographer.

While I was on Flickr, I also found the mysterious “Zebadiah” (don’t even know his family name). This was the only tradigital print he had on there, although I could see that he does do lithographic prints as well.

Michelle Boehm, a graphic designer from Philadelphia was another “one off-er”, where making tradigital work is concerned.

My guess is that maybe MB and Z. were driven by a desire to participate in a print exchange, which of course usually requires that an edition of e.g. 15 prints be sent to the coordinator.

Consequently the idea of combining a traditional technique with inkjet seems like a good idea. Whatever the context – it can sometimes help to give other people ideas for their creative work and of course that’s one of the excellent things that the Internet has going for it.

My final entry for this post is artist Joan Stuart Ross who has a very full resume and is obviously a very committed and serious artist. As well as jurying exhibitions, and teaching she is involved in running a print workshop. She seems to mainly like to work with monoprint as well as having extensively explored encaustic as a medium.

Colangelo, Zdzislaw, Niederhausen and Piasentin

2008-03-30T07:12:00.000-07:00

All four of the artists are working in higher educational faculties on different parts of the American continent. Their roots, going by their family names point towards Italy, Eastern Europe, Germany and France ??.

Colangelo is a Canadian Born, American, who lives and works in St. Louis, Missouri. Where inkjet is concerned , he uses a variety of printmaking processes to accompany it. Usually he employs one technique, at a time, i.e., these include collagraph, "chine colle" or silkscreen. More of his work can be seen at the Bruno David Gallery

As well as being a printmaker, Niederhausen also makes bookart which includes altered books as well as collaborations with poets. You can see more of her work on her personal website

Sikora Zdzislaw hails from Illinois, where he teaches fine art.

Piasentin is from California and is yet another professor (Pepperdine University) . He has had many international exhibitions and likes to experiment tradigitally by incorporating collage and embossing elements.

Tradigital Printmaking by Linden Langdon

2008-03-22T14:26:00.000-07:00

Digital Elements in Printmaking

an article by Linden Langdon

This print was developed for a print exchange which has members from a number of countries throughout the world. The exchanges happen twice a year, around the summer and winter solstice. The print size is usually very small to fit into standard envelopes – 15 x 10cm for this one.
The exchanges are themed, and the current process is for each participant to send to a central coordinator who then collates the prints and returns the collection to each person. This is a great way to look at a wide range of print techniques and be in touch with artist internationally.
The digital layer for my print is originally a solar or sun print. This is a an item, in this case a twig of Myrtle which is an endemic Tasmanian tree, which is laid on a piece of photo sensitive paper and exposed in the sun.

I then scanned the solar print and altered it in Photoshop to produce the background for the print.
The top layer is a lino cut.

Linden Langdon

Pace Prints - anybody "mixing it" over there ??

2008-03-22T10:19:00.000-07:00

Pace Prints, New York have been on the go since 1968 and with the facility of it's own print workshop, this well-known outfit has long been publishing editions too. Many well-known American artists are featured here I'd say there were only about 40% that I had not heard of.

Included on their books are luminaries such as Francesco Clemente, Kiki Smith (one of my own favorites) and Chuck Close. So that gives you an idea of its profile in the fine art world.

I guess if you’ve got your artwork represented there - then you can’t be doing too badly.

I found several artists of relevance in their gallery - these being Vik Muniz and Jane Hammond who I’d heard of previously, whereas
“Macdermot and McGough”, Mary Hellman, and Stephen Sollins were unknown to me.

Pace Prints

Tradigital artist-printmakers from OlsonLarsen

2008-03-19T16:38:00.000-07:00

Today’s post (and I am noticing that these are not frequent enough!!) is based on artworks found on a website of a gallery Olsonlarsen dot com, based in Iowa. The gallery was originally established about twenty years ago or so and shows a range of professional fine artists with about 8 -10 printmakers out of a total of about 30 artists.

I am glad I gave it the 'once over' again as I came across a second artist on there of relevance.

To the first artist, a local, who is called Jeanine Coupe Ryding. There is no doubt from looking at her work that she is a stunning woodcut artist, creating abstract yet lyrical narratives - if that makes any sense. The two pieces that I have included here feature wood cut combined with inkjet.

Some of her other media of preference include photo etching with chine colle as well as collage and straightforward inkjet Prints.

The other artist I found at the Olson Larsen Gallery is
Timothy Frerichs, who like Jeanine the aforementioned tradigital artist, completed an MFA in Germany.
Just from browsing through Timothy’s work on the gallery website, it would appear that he is quite experimental with materials and not just in terms of printmaking which is mainly intaglio.
Drawing media include charcoal, pigment, encaustic, oil, and ink. Substrates include ‘collage on handmade paper’
‘ink on panel’, ‘collaged panel’
and ‘sandblasted glass’

Tradigital printmakers from Flickr

2008-03-19T16:21:00.000-07:00

Today’s post shows prints found on Flickr which if you are unaware is a huge photo database. It’s used by a lot of artists of many calibers. For example the first two prints on view are by people who don’t seem to have printmaking as their main practice.
Moominsean aka Sean J Rohde is from Phoenix, Arizona and his main preoccupation, really seems to be more focused on toy cameras and old cameras as is evident if you visit his personal website/blog.
However he has a collection of images on his Flickr album
though no further tradigital works that I could see. The work featured here, the first on this post, is untitled and described as inkjet on woodblock.

The next work is again found on Flickr, and is by Ida Kumoji (USA).
Its "Untitled" and described as linoleum & Digital inkjet print, Ida, seems to be mainly working in the design field so I couldn’t see any further examples of printmaking. Having said that, here is Ida's website for your curiosity/reference.
The work was entered to a print exchange with Print Zero Studios which was set up by Brian Lane and Jeremy Cody in 2003.
I did actually participate in one of these myself, a few years back.
Their own website seems to be currently offline however they use a Flickr photo album
as the window on all the exchanges and show the individual prints made and contributed towards each exchange.

The only thing that I could find out about Charles Mulligan III was that he is into playing golf. He’s the creator of this next print which is described as drypoint, inkjet and green tea (?) Again no title. This was another print exchange entry in one of the Print Zero Studios exchanges.

Afurther printmaker from Flickr making work using inkjet is Susan Gans, who works mainly using photography and etching in her work.

Print Editions and Circular Work

2008-03-13T17:10:00.000-07:00

TRADIGITAL - experimentation in digital print which incorporates silkscreen, relief + intaglio techniques. Through this project I hope to research, learn, question, share and thereby provide an educational vehicle for practicing printmakers.

Relatively recent internet research to discover printmakers, who are tradigital, has not proved terribly fruitful; which is why for some time, I have had this idea.

In February 2008 I became aware of the A.N. artists talking
project, this gave me the impetus to get started.

In March, due to the technical difficulties, I moved the project here to Blogspot.

Initially I shall show some of my own work, to demonstrate what I have been doing within my own printmaking.

At the same time I plan to conduct research on the internet and publish my findings. As time goes on, hopefully I will get this database " and built up" shall be distributing “calls to artists” as well as inviting artists to contribute.

I am particularly hopeful that I can get artists to discuss their practice in relation to tradigital printmaking.

Details of the Images shown with this post

Aine Scannell, 'Easpa Dubra (Nature Unknown)', pigmented ink digital print, etching. 2004. Size: 26 x 32 cm approx
Made for an international print exchange project (Print Australia)
co-coordinated by Yvonne Dorricott and Josephine Severn The given theme was "Nature". Edition 23.

“I spent a long time creating backgrounds that I thought might integrate well with the etching element of this print. Ironically after much time spent exploring materials such as chalk pastel and watercolor - it was when I came across a section from one of my earlier painting on paper that I KNEW I had a 'match', also it worked in terms of theme and context, which was great.

My idea for the print being about human clones, invitro fertilization births and the like. I was thinking of how these individuals would be created and might not know what their biological roots were- their heritage in a sense. Anonymous sperm donations and so forth although the law in the UK has changed now. These were the ideas I was exploring, as I was creating my print, in response to “Nature”.

The etching was made on copper using "Photrak" (photographic acrylic resist etch), this I made using the facilities at London Print Studio.

I actually made three plates before I got it right!!
The inkjet transparency was generated out of Photoshop, using a scan of mohair wool (a favorite of mine - I very much like it's organic 'hirsute' quality). The edition for this portfolio was 23.

Aine Scannell, 'Ice Babies II', pigmented ink digital print and collagraph., 2001. Photo: A.Scannell. Size: diameter 38 cm, 1.5 cm depth. Printed on Hahnemuhle 200 gsm (approx) paper.

This is the second tradigital version of Ice Babies. It was made for exhibition initially at an artist run Galerie called Listakot in Reykjavik. I got a lot of help from an artist printmaker, Johanna Sveinsdottir prior to arriving there with my artwork. My friend Birna Matthiasdottir introduced us to one another. That gallery is closed down now.
Anyway thereafter, I reworked the piece and exhibited it as part of the Printmakers Council presentation within Fresh Art , at the Business Design Centre, London
27 – 29 July 2001

Aine Scannell, 'Vita Contempletiva', digital print with relief print, 1999. Size: 29 x 20 cm. Made for ' Partners in Print (based in Australia) – this was my very first international print portfolio exchange! Relief and inkjet print, Fabriano5 paper, Edition: 23

Tradigital Printmaking -what this blog is about

2008-03-09T14:37:00.000-07:00

I actually started a blog over on A.N. but it has limitations and therefore I have decided to bring all the material from there over to Blogger. One of the main reasons is because I will be able to tag entries and thereby be able to e.g. see all the entries for "lino and inkjet" at a glance and so forth.
Thereby making it possible to view all works made using intaglio and inkjet, which as well as hopefully being useful to visitors to this blog will also be useful for me.

Before I go any further I ought to explain what is meant by the term tradigital. Essentially it is an original print that has been made by incorporating inkjet on the paper (or other substrate) along with one or more of the traditional printmaking techniques such as intaglio, silkscreen or relief.