Course in Digital Printmaking with traditional print techniques (UK)

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.

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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

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 ??

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

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

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