The Joy of Printmaking – Works in Progress

Here are a few shots of some of the work I’ve been developing at my mentor’s studio the last few weeks. Working across various print mediums, I’m generating layers of information–some transparent, allowing viewer excavation. Other areas are opaque, or nearly opaque, preventing or diverting access, weighing the picture plane as heavy states of matter.

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The ethereal rock shapes in these works are done using combinations of serigraphy, shaped monotype plates with thin, transparent ink, and some relief printing, including woodcut.

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A few mixed media works that have changed dramatically since I took this photo. I’ll need to share the newer versions.

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Woodcut layer generated using a “dodge and burn” style stencil technique, with thin, ghostly void information developed as trace monotype. The print in the foreground, flat, is a collagraph with some relief and intaglio on top. The flat piece has a long way to go.

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My work surface, using an uncarved wood block to generate luscious textures.

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Experimenting with a flecked paper. I don’t normally use paper with embeds, but find it challenging to see if the embedded bits can work effectively with composed layers. Sometimes they do, sometimes they don’t. These are early stage mixed print pieces, composed mostly of serigraphy, but with woodcut, linocut and image transfer elements. inprogress11 inprogress12 inprogress13 inprogress14

Remember those pale pink collagraphs I printed some time ago? The ones I was not initially pleased with? They became functional underlayers for several pieces that are developing nicely. The image below features one of the weakest of the collagraphs, mutated effectively through layering. Glad I kept them!

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Below is a trace monotype that became the seedling of a much more developed print. tracemono

A few of my rock and monotype plate shapes. And dramatic Faustian ink.worktable1

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