 The Resident Visual Artist Exhibition is on display at the Howard County Center for the Arts through June 23, 2013. This is a great chance to see what all the resident artists have been working on in their studios. Come check it out! Also, please mark your calendars for the closing reception, June 20, from 6 to 8 p.m., with open studios from 7 to 8 p.m.
This woodblock print is one of 5 pieces I have in the show. It is based on a view of the Niagara River, in Niagara Falls, NY. The artwork is printed from one Shina woodblock. It was printed using the reduction method, in which a single block is carved and printed in stages.
Title: Niagara River
Medium: Woodblock Print (Reduction Method)
Paper: Rives BFK, White
Paper Size: 10 x 14"
Image Size: 8 x 12"
Block: Shina
Ink: Akua Intaglio
Edition size: 13
 Alpacas for the Ace of Hearts in an Art in Hand animals deck. I previously posted about the Alpacas in Progress and here is the final print! My goal was to get One Good Print for the Art in Hand deadline. When both my kids were sick the week before, I wasn't sure how it was going to happen. I carved my color blocks at home, over several days, then printed in my studio, on the very day/night that they were due! There must have been some magic in my studio because it all came together, calmly and not in a hurried frenzy. I was even able to go to bed at a decent hour, and for that I am grateful!
I took some photographs of the process:  This is the black and white proof, which I hand-colored with watercolor crayons. I have a set of 40 Caran d'Ache Neocolor crayons, which provide a great range of colors and I can get a sense of what will happen when I layer colors, as well.
 The key block is on the far right, and to the left are three of the color blocks. The fourth color block is actually the backside of another block.
 Here is the set with the two-sided block flipped over.
Side note: check out my new Ribba picture ledge from Ikea! It is great for getting blocks and frames up off my table tops to clear the surfaces (or make room for more stuff, as you can see here). Next time I go to Ikea, I plan to stock up on these and line my studio walls with them.
So, there it is! I said before that it is for the Queen of Hearts but it is actually for the Ace of Hearts. I'm looking forward to seeing the decks in a few months. In the meantime, my next step will be to print my edition of alpacas--I'm planning for an edition of 35.
Here are the details:
Title: Alpacas
Paper: Rives BFK
Paper Size: 10 1/2 x 13"
Image Size: 8 1/2 x 11"
Block: Shina--5 blocks
Ink: Akua Intaglio
Edition size: 35
 This Saturday, I'm offering a gelatin monotypes workshop at the Howard County Center for the Arts, in Ellicott City, MD. I've taught this technique at the National Museum of Women in the Arts, the Creative Alliance, School 33, and the Greenbelt Community Center, and it is always a lot of fun! This will be my first time offering it at my new location.
Printing without a Press: Gelatin Monotypes
Saturday, May 4, 3 - 6 p.m., $60, materials included. Please register here by Thurs. May 2.
Create one-of-a-kind, painterly prints using gelatin as a printing surface. Ink transfers beautifully from the smooth gelatin surface, with very little pressure. The material is very versatile, and while it can mimic traditional printing processes, it possesses its own unique qualities and the process lends itself to experimentation. Participants will be instructed in a variety of techniques, and then create a set of experimental prints.
A little bit about the process:  An inked gelatin plate, with stencils placed on top. Gelatin monotype printing is a low-tech, non-toxic form of printmaking that requires no press and used water-based inks or paint (we will be using akua kolor inks). The printing plate is made from a simple gelatin recipe.
 Ghost print (left) Direct print (right) Ink can be painted directly onto the plate with brushes and then printed onto paper. The ink transfers easily with very little pressure. Of course, there will be a little ink left on the plate, which is perfect for creating "ghost prints."
 Press nature specimens or textured items into the ink to capture and print the incredible detail. Feel free to bring plant trimmings or other textures you'd like to try printing!
 You can also cut your own stencils for blocking out on the gelatin.
 They can be used alone for a high contrast design,
 or printed in layers, for more emphasis on texture, color layering, and transparency, or even to create a pattern.
 You can even cut and carve your gelatin for a relief technique, using clay tools cookie cutters. Create patterns, line work, or cut "puzzle pieces" that can be inked separately and put back together for printing. I always save this step for last since it permanently changes the plate!
Try these techniques and more at my workshop on Saturday! You will walk away with a stack of experimental prints and a recipe to make your own gelatin plate for printing. All experience levels welcome!
A simple, black branch with pink and white cherry blossoms. Title: Cherry BlossomsPaper: Magnani Pescia Paper Size: 6 x 8" Image Size: 4 x 6" Block: Shina--2 blocks Ink: Akua Intaglio Edition size: Open Edition (unnumbered) I sketched, carved, and inked the blocks by hand, and printed on white paper with an etching press. The artwork is signed and dated.
I tend to have several projects going at different stages, and each evolves at its own pace. Here is a quick slideshow of what's happening in my studio at present. Enjoy!
After the open studio at the Howard County Center for the Arts, I took some photos of my space and they are below. Before moving into this studio, I was working in my laundry room, which was small, dark, and full of laundry. Having a dedicated space just for printmaking is really great. I have both daylight (with windows all the way to the ceiling!) and overhead lights, and there is wall space to hang up my work. I have arranged my work area so that each part of the process has its own separate space (carving, inking, printing, framing), so the space is very functional and I can work on any part of the process without having to clean up, break down, and rearrange. So that's my space! In addition to moving in, I have been printing and preparing for shows, working on news prints, editioning, and such, so I will be posting updates with my newest prints and works in progress.
Wishing you Peace and Happiness in the New Year!
The Greenbelt Festival of Lights is this weekend! It was a great festival last year, and I'm looking forward to being an exhibitor again.
Hope to see you there!
 Fairy Woods in Winter, Woodblock Print (5 blocks), 2012 Form and Fabric of Our Lives IV: Artistic Gifts of the Season Exhibition, Willow and Garden Galleries at Quiet Waters Park, Annapolis, MD. November 14, 2012—January 6, 2013. I'm thrilled to have many pieces (woodblock prints and handmade paper) included in this exhibition, currently on view at Quiet Waters Park. The opening reception is Sunday, November 18, 2012. 2-4pm, and it is free to the public to those who notify gate attendant. Click HERE for a preview of the show. Click HERE for directions and info on the park or HERE for The Friends of Quiet Waters Park. It is a beautiful place, with lovely trails, a playground, and even ice skating! Hope to see you there!
This print is based on a photograph taken in central Illinois by my Gran. Several years ago she sent it to me, with a title written on the back "Faerie Woods in Winter." She did not like the cold, but would always comment on how sparkling and beautiful the snow looked on a sunny day. I like to think that she would like my interpretation.
Title: Fairy Woods in Winter (Version 2)
Paper: Rives BFK White
Paper Size: 12" x 16"
Image Size: 10" x 14"
Block: Shina--5 blocks
Ink: Akua Intaglio
Edition size: 45
Below are photos of the blocks, in the order that they were printed. Though it was printed last, I actually carved the black, tree block first. Then, I printed it on Yupo (a recyclable, synthetic, non-obsorbent paper) and transferred it to the other blocks. That is why you can see the trees prints on some of the color blocks.  Pale yellow sun-- a mixture of yellow and titanium white
 Pale, transparent blue--a mixture of titanium white, pthalo blue, ultramarine blue, payne's gray, and transparency base.
 A darker version of the blue above. Same colors in the mixture, minus titanium white.
 Carbozole violet with a small amount of transpancy base.
 Carbon black.
I have artwork on display at the Irvine Nature Center through February 26, 2012, including a few brand new pieces that I haven't had a chance to photograph and post yet. My work is in the main exhibit hallway and in the Fern Rooms, where classes and meetings are held. Below are a few shots of the main hallway: There's also lot to do at the nature center, if you come out for a visit, including exploring nature exhibits, hiking and trails, and playing in the outdoor classroom.
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