9th Annual International Miniature Print Exhibition 2013 CATALOG

9 T H B I E N N I A L

International Miniature Print ExhibitionEXHIBITION CATALOG 2013

Argentina

Australia

Austria

Bangladesh

Bulgaria

Canada

Croatia

England

Estonia

France

Germany

India

Ireland

Italy

Japan

Latvia

Lithuania

Mexico

Netherlands

Portugal

Romania

Scotland

Serbia

Slovakia

Slovenia

South Africa

Sweden

Switzerland

Thailand

Ukraine

USA

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TABLE OF CONTENTS

4 Acknowledgements 5 Juror’s statement & Bio

6 2013 Prize winners

15 List of Accepted Artists

50 Index of Artists

52 Glossary of Printmaking Terms

56 About CCP

9th Biennia l In ternat ional Miniature Pr int Exhib i t ionJune 2 – Sep t ember 1, 2013

4 2 0 1 3 E X H I B I T I O N C A T A L O G

Acknowledgements

Even before the 237 accepted entries by 131 artists are installed in the Grace Ross Shanley Gallery of the Center for Contemporary Printmaking (CCP), the 9th

Biennial International Miniature Print Competition can be considered a success for the fact that the works on view represent a record submission from artists

from 30 countries and 17 states from within the United States. My thanks are extended to the 304 artists from 37 countries and 27 states who were challenged

by the miniature format and mailed their small packages and envelopes from around the world for adjudication by Jan Howard, Curator of Prints, Drawings, and

Photographs, Museum of Art, Rhode Island School of Design.

This biennial print competition continues to be juried from the actual prints submitted and not by electronic submissions. Over the greater part of a day, I fre-

quently observed our juror pick up these tiny impressions and hold them in the palm of her hand for closer scrutiny. I am grateful to her for her thorough deliberation

at a task that she clearly enjoyed.

The word “miniature” often seems to infer less, and in art, of a ranking of less importance than larger work. I am reminded of a favorite Latin phrase, multum

in parvo – much in a small space, which A. Hayatt Mayor, a former curator of prints at the Metropolitan Museum, New York used to head up a chapter in his book,

Prints and Print People. He was referring to Old Master woodcuts and engravings whose diminutive engraved and carved narratives of domestic life, landscape,

death and salvation could be held and viewed on paper smaller than the palm of one’s hand. They told a huge story on a small scale.

This exhibition gives us a chance to view subject matter that contemporary printmakers around the world are preoccupied with, and for several prints that more

than caught her attention, Jan Howard has designated purchase awards. In the 18 years of our Center’s existence, strong business relationships have been devel-

oped with those companies who provide the raw materials that enable printmaking to flourish. Printmakers here in the USA, and around the world, are inspired by

the excellence of their presses, papers, inks and tools. For their generous support of the 9th Biennial Miniature Print Competition by donating purchase awards, I

am grateful to the following individuals and companies: Susan Rostow of Akua Waterbased Inks, Joanne Fox of Jerrry’s Artarama; Pavel Repisky of Atlantic Papers,

Marvin Bolotsky of fourwindsfineart.com, Susan Clark of Graphic Chemical & Ink, Co, Michael Ginsburg of Legion Paper, Alex Prentiss of McClain’s Printmaking

Supplies, Pat Bentivogli of Renaissance Graphic Arts Inc., David Valliere of Speedball Art Products, and David Takach of Takach Press Corporation.

Every two years the staff of CCP eagerly await this exhibition for there is always an affordable “gem” to purchase, and I hope that visitors to this exhibition

will respond likewise. The entire staff play a role in preparing this exhibition from disseminating the prospectus, unsealing the packages, cataloging the entries,

contacting participating artists to the installation of the exhibition and communication with the press. Jackie Akers has always led the team so proficiently and has

been supported by Renée Santhouse, Helen Kirk, Christopher Shore and Julyen Norman. Gayle Erickson produced the graphic design accompanying this exhibition.

—Anthony Kirk, Artistic Director/ Master Printer

2 0 1 3 E X H I B I T I O N C A T A L O G 5

Juror’s statement

It was an honor to serve as the juror for this year’s International Miniature Print Exhibition and I would like to thank all the artists, but especially those from

distant nations, who submitted work to the competition. I was impressed by the range of techniques, styles, and subjects presented within the four square inch

limitation of the competition. I came to realize that the small scale was not the limitation it seemed, but, in fact, many of the artists composed printed worlds that

felt quite expansive. For example, Laura Kinneberg’s lovely silkscreen depictions of mineral specimens and fossils take much of their power from her placement

of the subject on the sheet. Each image seems to command a larger and more contemporary field than many images in the show, even as the letterpress labeling

ties them to their historical precedents. They are spare images, much like V. Saravana Ragavan’s delicate line etchings of what seem to be unfolding ribbons or

bindings. The distending action of these exquisite images, too, belies their miniature scale. Anne Desmet’s densely carved blocks evoke the structures and sweep-

ing reach of the urban landscape. Her wood engravings are stunning in their ability to suggest a vast space. Each small print in the exhibition reveals a marvelous

surprise. I hope visitors will share in the immense pleasure that I had in exploring the rich imagery in each piece.

—Jan Howard, Curator of Prints, Drawings, and Photographs, Museum of Art, Rhode Island School of Design.

Jan Howard

Jan Howard was appointed curator of prints, drawings, and photographs at the RISD Museum in April 2000,

and curatorial chair in 2002. Prior to her position at RISD, she was a curator for fourteen years in the Depart-

ment of Prints, Drawings and Photographs at the Baltimore Museum of Art, and held an NEA Internship in the

Department of Prints, Drawings and Photographs at the Philadelphia Museum of Art, as well as curatorial

positions in the Department of Prints and Drawings at the Spencer Museum of Art, University of Kansas. She

holds a BA and an MA in art history from the University of Kansas. Exhibitions include Pat Steir: Drawing Out of

Line, 2010; Consent to Gravity: Frederick Sommer’s Photographs and Musical Scores, 2005; Interior Drama: Aaron Siskind’s Photographs of the 1940s, 2003; Adrian

Piper: Food for the Spirit, 2001-2002; Laurie Simmons: The Music of Regret, 1997 (with catalog); and Roni Horn: Inner Geography, 1994.


Laura Kinneberg (260)1st PrizeDISTRICT OF COLUMBIA

Corundum (Sapphire), 2013Silkscreen & letterpress, ed. 2/81 5/8 x 1$80

Quartzite (Pax River stone), 2013Silkscreen & letterpress, ed. 2/111 3/8 x 1 1/2$80

Fossil (porpoise inner ear bone), 2013Silkscreen & letterpress, AP.1 3/4 x 1 7/8$80

Fluorite, 2013Silkscreen & letterpress, ed. 2/9.2 x 2.$80


V. Saravana Ragavan (278)2nd PrizeINDIA

Form I, 2013Etching, ed. 2/4.2 x 1 7/8$50

Form II, 2013Etching, ed. 2/43 7/8 x 1$50

Form III, 2013Etching, Ed. 3/42 x 1 7/8$50


Anne Desmet (137)3rd PrizeENGLAND

Stadium Glimpsed I, 2010Wood engraving, ed. 12/202 5/8 x 1 1/2$230

Stadium Glimpsed II, 2010Wood engraving, ed. 1/202 x 2$230

East-London-Glimpse, 2013Wood engraving, ed. 2/3013/16 x 4 5/8$230


Betty Ball (181)Honorable MentionCONNECTICUT

Vermont Summer No. I, 2013Monotype. 1 3/4 x 2 1/4. $85

Peak No. I, 2013Monotype. 1 3/4 x 2 1/4. $85

Peak No. II, 2013Monotype. 1 3/4 x 2 1/4. $85

The Bluff No. I, 2013Monotype. 1 3/4 x 2 1/4. $85

En Route to Aix No. I, 2013Monotype. 1 3/4 x 2 1/4. $85Jerry’s Artarama Purchase Award

1 0 2 0 1 3 E X H I B I T I O N C A T A L O G

Kraisak Chira Chaisakul (28)Honorable MentionTHAILAND

Long live the King 11, 2012Mezzotint, ed. 7/252 x 2.$99Renaissance Graphics Purchase Award

Long live the King 10, 2012Mezzotint, ed. 8/252 x 2$99

Long live the King 9, 2012Mezzotint, ed. 6/252 x 2$99

2 0 1 3 E X H I B I T I O N C A T A L O G 1 1

Cindi Ford (188)Honorable MentionMICHIGAN

Purse Series I, 2013Mezzotint & etching2 x 2$55

Purse Series II, 2013Mezzotint & etching2 x 2$55Atlantic Paper Purchase Award

Purse Series III, 2013Mezzotint & etching2 x 2$55


Maria Heed (4)Honorable MentionSWEDEN

Tack (Thanks), 2012Etching, ed. 3/252 3/8 x 1 9/16$72Renaissance Graphics Purchase Award

Magi (Magic), 2012Etching, ed. 3/252 3/8 x 1 9/16$72

Ensam (Lonely), 2012Etching, ed. 3/252 x 1 7/8$72


Gerda Muehl (69)Honorable MentionGERMANY

Autumn Dreams I, 2013Etching, ed. 1/52 x 2$80

Autumn Dreams II, 2013Etching, ed. 1/52 x 2$80

Autumn Dreams III, 2013Etching, ed. 1/52 x 2$80Legion Paper Purchase Award

Autumn Dreams IV, 2013Etching, ed. 1/52 x 2$80


Josef Werner (201)Honorable MentionGERMANY

4 Elements - Air, 2013Etching, ed. 5/752 1/2 x 1 3/8$80

4 Elements - Water, 2013Etching, ed. 5/752 1/2 x 1 3/8$80Legion Paper Purchase Award

4 Elements - Fire, 2013Etching, ed. 5/752 1/2 x 1 3/8$80

4 Elements - Earth, 2013Etching, ed. 5/752 1/2 x 1 3/8$80


9TH B IENNIALINTERNATIONAL MIN IATUREPRINT EXHIB IT ION

Accepted Artists

Night Light, 2013Mezzotint, ed. 1/25. 2 1/2 x 1 1/2. $95

Karen Adrienne (72) MAINEInnocence, 2013Etching, ed. 1/10. 2 x 2. $150

Michael Arike (248) NEW YORKNear Union Square, 2013Aquatint, ed. 1/50. 2 x 2. $95

Janet Best Badger (140) TEXASUntitled (Harrisburg), 2013Intaglio, ed. 2/10. 2 x 1 7/8. $125Akua Inks Purchase Award


Minerals 2, 2013Digital print w/ silk paper, ed. 1/52 x 2. $70

Marcelle Benhamou (287) FRANCEMinerals 1, 2013Digital print w/ silk paper, ed. 1/52 x 2. $70

Minerals 3, 2013Digital print w/ silk paper, ed. 1/52 x 2. $70

Eugenie Lewalski Berg (123) MASSACHUSETTSOld Ice Skates, 2012Woodcut, ed. 1/7. 4 x 1. $100McClain’s Purchase Award

Old Roller Blades, 2012Woodcut, ed. 4/8. 4 x 1. $100


Emilia Bonfanti (302) ITALYWoods, 2010Etching, ed. 2/5. 3/4 x 3 3/8. $80

Elena Bouvier (300) PENNSYLVANIALooking Ahead, 2013Photopolymer gravure, ed. 1/32 x 2. $100

Looking Back, 2013Photopolymer gravure, ed. 1/32 x 1 7/8. $100

Over • Under • Between, 2013Photopolymer gravure, ed. 1/32 x 1 7/8. $100Graphic Chemical & Ink Co. Purchase Award

Peter Boyadjieff (136) CANADANeaty, 2013Digital print, ed. 1/5. 2 x 2. $80

Sigita Bronickiene (311) LITHUANIASelf Portrait, 2013Linoleum cut, ed. 2/5. 2 x 1 7/8. $50Graphic Chemical & Ink Co. Purchase Award


Verdure III, 2013Intaglio, ed. 1/10. 1 7/8 x 1 7/8. $80

Ewa Carlsson (233) SWEDENVerdure I, 2013Intaglio, ed. 1/10. 2 x 2. $80

Verdure II, 2013Intaglio, ed. 1/10. 1 7/8 x 1 7/8. $80

Zdenek Bugan (50) SLOVAKIAMicrodrama No. I, 2013Intaglio, ed. II/X. 2 1/2 x 1 1/2. $100

Erika Buschmann (247) MASSACHUSETTSBrice Creek, 2011Etching & aquatint, ed. 8/301 1/8 x 5/8. $20

Angus Buchanan (166) SOUTH AFRICACramping My Style, 2013Etching, AP I/III. 1 7/8 x 1 7/8. $40


The Poet’s Home, 2013Etching & aquatint, ed. 1/1502 x 2. $75

Bo Cronquist (157) SWEDENThe Philosopher’s Home, 2013Etching & aquatint, ed. 1/1502 x 2. $75

Briar Craig (316) CANADAHouse Broken, 2013Screenprint, ed. 2/3. 1 3/4 x 2 1/8. $100

Summer, 2009Lithograph, AP, 1 1/2 x 2 5/8. $60

Gene Chu (10) CANADAFly and Clothespin, 2008Lithograph, ed. 6/30. 1 3/8 x 3. $60


Kevin DiMauro (152) CONNECTICUTCalifornia Dreamscape, 2013Digital print. 2 x 1 7/8. $60

Hedge at Dawn III, 2012Aquatint& etching, var. ed. 1 7/8 x 1 7/8. $85

Hedge at Dawn II, 2012Aquatint,& etching var. ed. 1 7/8 x 1 7/8. $85

Grainne Dowling (8) IRELANDHedge at Dawn I, 2012Aquatint & etching, var. ed.1 7/8 x 1 7/8. $85

Patrick DeCicco (238) NEW YORKMini Maker, 2013Drypoint, ed. 2/10. 1 7/8 x 1 7/8. $75

Play Ball, 2013Etching and watercolor, ed. 17/501 7/8 x 1 7/8. $120

Mothers Coq Au Vin, 2013Etching and watercolor, ed. 31/501 7/8 x 1 7/8. $120

Viviane De Kosinsky (187) VIRGINIAMoose, 2013Etching and watercolor, ed. 5/352 x 1 7/8. $120


Alanna Fagan (231) CONNECTICUTRouge à Lèvres, 2013Monotype. 2 1/4 x 1 3/4. $250

Susan Early (98) IRELANDBenbulben III, 2013Drypoint & aquatint, ed. 2/151 1/8 x 3 1/4. $65

Carol Dunn (197) CONNECTICUTSnowed In, 2013Solarplate etching, var. ed. 1/501 3/4 x 2 1/4. $60fourwindsfineart.com Purchase Award

Katharine Dufault (160) NEW YORKFigure III, 2013Monotype. 2 x 2. $90

Katharine Draper (49) CONNECTICUTLandscape II, 2013Monotype. 4 x 1. $50


Sally Frank (214) NEW YORKRain, 2013Monotype. 2 x 2. $80

Oi Fortin (296) CONNECTICUTSalvador’s Garden, 2012Monotype. 2 5/8 x 1 1/2. $75

Maxine Feldman-Cohen (128) NEW YORKPassing Through, 2012Clay print. 1 x 4. $65

Matthew Forrest (285) PENNSYLVANIAMy Dad Hunts, 2013Intaglio & laser cut collage, ed. 2/21 7/8 x 1 7/8. $25


Amy Geyer (243) MASSACHUSETTSDouble Talk, 2013Gelatin print. 2 x 1 7/8. $75

Donald Furst (59) NORTH CAROLINAEuropa, 2010Mezzotint, AP. 2 x 1 1/2. $80

Acrylic, 2013Linoleum cut, ed. 1/50. 1 1/8 x 3 1/8. $55

Watercolor, 2013Linoleum cut, ed. 1/50. 1 x 2 1/2. $45

Liz Lyons Friedman (198) CALIFORNIACrayons, 2013Linoleum cut, ed. 1/50. 7/8 x 2 5/8. $45


This & That, 2013Collagraph w/ chine collé, AP2 x 2. $85

Lisa Gribbon (111) SCOTLANDNo Wind?, 2013Collagraph w/ chine collé, AP2 x 2. $85

Twig 3, 1980Engraving, ed. 1/2, 4 x 1. $100

Twig 2, 1980Engraving, ed. 1/2, 4 x 1. $100

Barbara Gray (100) CONNECTICUTTwig 1, 1980Engraving, ed. 1/2, 4 x 1. $100


Aquitania 4, 2013Silkscreen, ed. 1/6. 1 1/2 x 2 5/8. $65


Aquitania 2, 2013Silkscreen, ed. 1/6. 1 1/2 x 2 5/8. $65Lee Haydock (130) ENGLAND


Raking Light, 2013Woodcut, ed. 1/20. 2 1/2 x 1 1/2. $60McClain’s Purchase Award

Theresa Haberkorn (143) COLORADOWinter Pines, 2013Woodcut, ed. 1/20. 2 1/2 x 1 1/2. $60

Mari Gyorgyey (79) CONNECTICUTTV Tommie, 2013Intaglio w/ hand coloring, AP12 x 2. $70


Untitled 5, 2013Photogravure w/ chine collé, ed. 1/362 3/8 x 1 5/8. $50

Untitled 3, 2013Photogravure w/ chine collé, ed. 1/362 3/8 x 1 5/8. $50

Amy Lowey Horowitz (91) CONNECTICUTUntitled 2, 2013Photogravure w/ chine collé, ed. 1/361 5/8 x 2 3/8. $50

Carol J. Henry (308) SOUTH CAROLINAWinter Storm, 2013Silkscreen monotype. 2 x 1 7/8. $30

Nicci Haynes (295) AUSTRALIABody Language - 1, 2013Etching, drypoint & chine collé2 x 1 7/8. $90

Body Language - 4, 2013Etching, drypoint & collage2 x 1 7/8. $90

Body Language, 2013Rubber stamp and collage2 x 1 7/8. $90


#3, 2013Relief print, ed. 1/6. 2 x 1 7/8. $90

#2, 2013Relief print, ed. 2/10. 1 7/8 x 1 7/8. $90Sabine Huber (291) SWITZERLAND

#1, 2013Relief print, ed. 2/6. 2 x 1 7/8. $90

Enigmatic Nature III, 2013Etching, chine colé, ed. 5/50. 1 7/8 x 1 1/2. $25

Enigmatic Nature II, 2013Etching, chine collé, ed. 5/50. 1 1/2 x 1 3/8. $25

Eugeniya Hristova (313) ITALYEnigmatic Nature I, 2013Etching, chine collé, ed. 1/50. 1 1/2 x 1 3/8. $25

Christopher Howe (258) MASSACHUSETTSAlmost Architecture - 2, 2013Linoleum cut, ed. 1/100. 2 x 2. $25


Bonnie Johnson (95) CONNECTICUTDiamond Dust Sun Dog, 2012Digital Cliché verre, AP. 2 x 2. $50

Eva Toker Jawerbaum (301) ARGENTINAAire, 2013Intaglio. 2 x 1 7/8. $95

Mirrors, 2013Digital print, ed. 4/25. 1 7/8 x 2. $50

Alexandru Jakabhazi (315) ROMANIAArch, 2013Digital print, ed. 5/25. 2 x 2. $50

Structure Change, 2013Silkscreen, ed. 14/14. 1 1/2 x 1 1/2. $40

Heather Huston (156) CANADAFrost Adjacent, 2013Silkscreen, ed. 13/13. 1 5/8 x 2. $40

Ursula Hulsewig (306) GERMANYAdventure, 2013Intaglio, ed. 2/30. 2 x 1 7/8. $70


Oksana Judakova (133) LITHUANIAThree Girls Watching TV, 2013Linoleum cut, ed. 1/20. 2 x 2. $80

18225 Southwest 102nd, 2013Woodcut, ed. 1/3. 1 3/4 x 2 1/4. $64

1612 Crestview Dr., 2013Woodcut, ed. 1/3. 1 3/4 x 2 1/4. $64CCP Artistic Director Purchase Award

Nina Jordan (224) NEW YORK302 Clyde St., 2013Woodcut, ed. 1/3. 1 3/4 x 2 1/4. $64

Philip Johnson (307) ILLINOISBattery, 2013Intaglio w/ Chine collé, ed. 5/10. 3 7/8 x 1. $80


Selina Karim (246) COLORADOMemory of Costa Rica 3, 2013Intaglio, AP. 2 x 2. $125

Konstantin Kalynovych (241) UKRAINEDolce Vita, 2012Etching, ed. 9/80. 1 x 1 1/4. $65

Karen Kalkstein (112) CONNECTICUTMy Shadow and I, 2013Lithograph w/ collage. 1 x 4. $85

Two Sides II, 2013Mixed media, ed. 3/10. 1 3/8 x 2 7/8. $30

Pēteris Justovičs (298) LATVIATwo Sides I, 2013Mixed media, ed. 2/10. 1 3/8 x 2 3/4. $30


D-day, 2013Woodcut & digital print, ed. 1/32 x 1 7/8. $80

Ivana Gagic Kičinbači (226) CROATIASheriff, 2013Woodcut & digital print, ed. 2/3 2 x 1 7/8. $80

Baljit Kharey (46) CANADAMyriad, 2012Intaglio, ed. 2/12. 2 x 2. $60

Ann Kavanagh (254) IRELANDCircle of Life, 2013Aquatint, AP. 2 x 1 7/8. $40

True Lines, 2013Aquatint & etching, AP. 2 x 1 7/8. $40

Truth, 2013Aquatint, AP. 2 x 1 7/8. $40


Cycling, 2012Etching, ed. 1/4. 3/4 x 4 1/4. $85

Going Down Down Down, 2012Etching, ed. 1/2. 2 1/4 x 1 5/8. $85

Lisetteh (242) NETHERLANDSFurniture, 2012Etching, ed. 1/2. 2 3/16 x 1 1/2. $85

Lenny Librizzi (51) NEW YORKRiver Edge Reflection, 2013Mezzotint, ed. 8/30. 2 x 1 7/8. $50

Little Snarl 8, 2012Engraving, ed. 3/7. 1 3/4 x 2 1/4. $75

Little Snarl 6A, 2012Engraving, ed. 3/7. 1 3/4 x 2 1/4. $75

Channing Lefebvre (7) NEW YORKLittle Snarl 4, 2012Engraving, ed. 4/7. 1 3/4 x 2 1/4. $75


II, 2013Monoprint. 2 x 1 7/8. $85

Catherine Lucia (101) CONNECTICUTI, 2013Monoprint. 2 x 2. $85

Point 3, 2013Digital print,, ed. 7/25. 2 x 1 7/8. $60

Point 2, 2013Digital print,, ed. 7/25. 1 7/8 x 2. $60

Adriana Lucaciu (314) ROMANIAPoint 1, 2013Digital print, ed. 7/25. 1 7/8 x 1 3/4. $60

Skyline, 2010Transfer print. 1 1/2 x 2 1/4. $90

Lukas Jakoc Locker (294) AUSTRIAHouses, 2010Transfer print. 1 1/2 x 2 1/4. $90


Christopher Moon (173) ENGLANDLeatherface, 2012Etching & aquatint, ed. 4/50. 2 x 1 7/8. $125

Guen Montgomery (217) TENNESSEESouthern Sapphic, 2013Intaglio, ed. 1/20. 1 7/8 x 1 7/8. $300

Passage II, 2013Aquatint, ed. 1/10. 1 1/4 x 3 1/8. $80

Ines Mesquita (318) PORTUGALPassage I, 2013Aquatint, ed. 1/10. 1 1/4 x 3 1/8. $80

Margaret McLoughlin (290) IRELANDYellow Sky, 2013Drypoint, ed. 1/10. 2 x 1 3/8. $80

Eilish McCann (266) IRELANDTaxi, 2013Woodcut, ed. 1/8. 2 x 1 7/8. $45


Dakota Clay Nanton (303) COLORADOThe Emperor’s New Clothes, 2013Silkscreen, ed. 6/12. 2 x 2. $12

XB3, 2013Digital print, ed. 5/10. 1 15/16 x 1 7/8. $40

Orchid, 2012Linoleum cut, AP. 2 5/8 x 1 3/16. $50

Bamboo Plant, 2013Engraving w/ chine colle, AP2 1/2 x 1 1/2. $50

James Mullen (55) NEW YORKSunflower, 2012Engraving w’hand coloring, AP2 1/4 x 1 1/2. $50

Sigrid Muench-Metzner (252) GERMANYSèrie Carrèe, Birke 1 Norwegen, 2013Woodcut. 2 x 1 7/8. $117


Snowy Street, 2013Photo polymer intaglio, ed. 2/5. 1 1/4 x 3. $80

Lamp Post, 2013Photo polymer intaglio, ed. 2/5. 3 7/8 x 1. $80

Marian L. O’Connell (229) RHODE ISLANDPathway, 2013Photo polymer intaglio, ed. 2/5. 2 x 2. $70

Susan Newbold (132) CONNECTICUTFarewell, 2013Pronto plate. 2 x 2. $150

Djavan Nascimento (225) COLORADOA Broader Concept of Imminence, 2013Engraving monoprint, var. ed. 3/101 x 4. $60

Stephanie Navon (228) NEW YORKShells, 2012Intaglio, AP. 2 1/4 x 1 3/4. $60


Wraith UZ, 2012Digital print, AP. 2 1 /8 x 1 7/8. $80

Jim Pearson (255) ILLINOISWraith QW, 2012Digital print, AP. 2 1 /8 x 1 7/8. $80

Pia Öste-Alexander (107) NEW YORKGuitar, 2013White line woodcut, ed. of 31 1/2 x 2 1/4. $90

Kirsty Olivier (167) SOUTH AFRICADiatom I, 2013Etching, edition of 301 7/8 x 1 7/8. $40

Thom O’Connor (47) NEW YORKNew Morning Trees #1, 2013Digital print, ed. 12/401 1/4 x 3 1/8. $60


DeAnn Prosia (185) CONNECTICUT City Lines, 2013Etching, ed. 2/10. 1 3/16 x 1 3/16. $75

Half Off, 2013Etching, ed. 2/10. 1 3/8 x 2 7/16. $75

Wings, 2013Etching, ed. 2/13. 1 1/2 x 2 1/2. $75

Mihael Prečič (269) SLOVENIAMoon Europa 013, 2013Rubber stamp, EA1 3/4 x 1 7/8 round. $20

Rachel Precht (151) MARYLANDThe Things She’s Seen, 2012Linoleum cut, ed. 2/52 3/4 x 1 1/2. $60


Winter Trees #3, 2013Drypoint, ed. 1/4. 2 3/8 x 1 1/2. $100

Mimi Rosenwald (234) NEW YORKWinter Trees #6, 2013Drypoint, ed. 1/4. 2 3/8 x 1 1/2. $100

To The Flame-Specimen 2, 2013Etching, ed. 1/30. 2 x 1 7/8. $40

Michele Rolstone (168) SOUTH AFRICATo The Flame-Specimen 1, 2013Etching, ed. 1/30. 2 x 1 7/8. $40

Marianne Riss (68) GERMANYLegend III, 2013Etching, ed. 1/10. 2 x 2. $80

Julianne Ricksecker (293) CALIFORNIASea Wall, 2013Monotype. 1 x 2 1/2. $125


Madeleine Sauvé (212) CANADACascade Moss, 2013Photopolymer w/ chine collé, AP2 x 1 7/8. $42

Renée Santhouse (264) CONNECTICUTPit 1, Fog, 2013Digital print & relief, var. ed. 1/5. 2 x 2. $60

Paper Wear 3, 2012Etching, ed. 8/50. 1 7/8 x 1 7/8. $90

Paper Wear 2, 2012Etching, ed. 8/50. 1 7/8 x 1 7/8. $90

Reti Saks (169) ESTONIAPaper Wear 1, 2012Etching, ed. 8/50. 1 7/8 x 1 7/8. $90

Subho Saha (88) BANGLADESHCity 2, 2013Mezzotint, ed. iii/v. 1 5/8 x 2 1/2. $50


Lynn Shaler (261) FRANCEThe Woman in White, 1985Etching & aquatint, ed. 10/1002 3/16 x 1 3/4. $350

La Fleur au Chapeau, 1994Etching & aquatint, ed. V/XX2 1/8 x 1 5/8. $425

Le Séjour, 1988Etching & aquatint, ed. 28/302 1/4 x 1 1/2. $425

Rayfield Scott (180) CONNECTICUTBirthday, 2013Solar polymer intaglio. 1 3/4 x 12 1/8. $75

Caballo, 2013Digital print, Ed. of 5. 2 x 2. $99

Roberto Martinéz Schütt (262) MEXICOToro, 2013Digital print, Ed. of 5. 2 x 2. $99


Aaron Smyth (289) IRELANDUntitled 1, 2013Mezzotint, ed. 1/5. 2 x 1 7/8. $45

Building Silhouette/Horizontal #11, 2012Linoleum cut, ed. 7/101 1/2 x 2 5/8. $75

Building Silhouette/Horizontal #10, 2012Linoleum cut, ed. 4/101 1/2 x 2 5/8. $75

Robin Sherin (250) NEW YORKBuilding Silhouette/Horizontal #9, 2012Linoleum cut, ed. 4/101 1/2 x 2 5/8. $75

Carolyn Sheehan (200) NEW YORKUntitled 1, 2013Etching & collagraph w/ hand coloring, var.ed. 1/42 3/4 x 1 1/2. $85


Dinner, 2012Linoleum cut & lithograph, ed. 2/122 x 2. $75

Lunch, 2012Linoleum cut & lithograph, ed. 2/122 x 2. $75

Valerie Syposz (1) CANADABreakfast, 2012Linoleum cut & lithograph, ed. 2/122 x 2. $75

La Nevicata, 2003Etching & aquatint, ed. 8/152 3/4 x 1 3/8. $40

Leggerezza, 2003Etching & aquatint, ed. 2/151 1/2 x 2. $40

Carlotta Superti (284) ITALYToscana, 2003Etching & aquatint, ed. 1/151 3/8 x 2. $40

At The Seashore, 2013Etching & aquatint, ed. 2/30. 2 x 2. $40

Akari Sugimoto (74) JAPANA Children’s Room, 2013Etching & aquatint, ed. 2/30. 2 x 2. $40


Yoga Teachings, 2013Drypoint, ed. 2/3. 1 5/8 x 2 3/8. $70

Yanko Hristo Terziev (324) BULGARIAJaunt, 2013Drypoint, ed. 3/4. 1 5/8 x 2 3/8. $70

Lili Tayefi (44) CANADAMoonlight Dancers, 2013Intaglio, ed. 1/5. 1 x 4. $55

Eileen Tavolacci (182) CONNECTICUTYou Are Here, 2013Drypoint w/ chine collé, AP1 3/4 x 2. $75

Ann Tanksley (141) NEW YORKConflict, 2013Photopolymer intaglio, AP. 2 x 2. $50


Emily Trueblood (199) NEW YORKSnowy View 2, 2013Linoleum cut, AP. 2 1/2 x 1 9/16. $80Speedball Purchase Award

Maliya Travers-Crumb (118) NEW YORKOn the Beach, 2013Intaglio. 2 x 2. $75

December 12, 2012Etching. 1 7/8 x 1 7/8. $75

2009, 2009Etching. 1 7/8 x 1 7/8. $75

1993, 1993Etching. 1 7/8 x 1 7/8. $75

Shigeki Tomura (240) JAPAN2012, 2012Etching. 1 7/8 x 1 7/8. $75Takach Press Corporation Purchase Award


Untitled 3, 2013Monoprint. 2 x 2. $55

Untitled 2, 2013Monoprint. 2 x 2. $55

Heather N. Varco (263) CONNECTICUTUntitled 1, 2013Monoprint. 2 x 2. $55

Tijeras, 2013Linoleum cut, ed. 5/15. 2 x 2. $80

Jan Vanderburg (116) NEW MEXICOCerrillos, 2013Linoleum cut, ed. 1/16. 2 x 2. $80

Tracy Van Buskirk (215) CONNECTICUTDad, 2013Monotype. 1 7/8 x 1 7/8. $25

Chikako Usui (210) JAPANHeart, 2011Etching, ed. 9/17. 1 3/4 x 1 7/8. $50


Cleo Wilkinson (6) AUSTRALIAThen, 2008Mezzotint, ed. 27/401 7/8 x 1 1/2. $120

Untitled C, 2013Aquatint w/ chine collé, ed. 8/102 x 2. $50

Untitled B, 2013Etching & aquatint, ed.8/101 7/8 x 1 7/8. $50

Mark White (244) ENGLANDUntitled A, 2013Etching & aquatint, ed.8/101 7/8 x 1 7/8. $50

Vladimir Veljasevic (42) SERBIAUntitled 1, 2013Woodcut & chine applique, var. ed.1 5/8 x 2 1/2. $50


Katrina Zaric (317) SERBIAThe Honeymoon, 2013Intaglio, ed. 1/1001 7/8 x 1 7/8. $65

Need You III, 2012Mezzotint, var. ed. 2 x 1 7/8. $200

Need You II, 2012Mezzotint, var. ed. 1 7/8 x 1 7/8. $200

Hildegard Winkler (5) GERMANYNeed You I, 2012Mezzotint, var. ed. 2 x 1 7/8. $200

Brian Wilson (147) MARYLANDBramble, 2013Digital print. 3 7/8 x 1/8. $60


Fibonacci Curve, 2013Photogravure w/ chine collé, ed. 2/82 x 2. $80

At The Exhibit, 2013Photogravure w/ chine collé, ed. 2/82 x 2. $80

Sergey Zlotnikov (220) PENNSYLVANIAMeditation, 2013Photogravure w/ chine collé, ed. 2/82 x 2. $80

Nele Zirnite (62) LATVIAPrint Wings, 2001Etching, ed. 5/30. 2 x 1 3/4. $90

Jana Zimmer (129) CALIFORNIAYellow Studebaker before Patronado, 2013Digital print. 2 x 2. $100

Xiaohong Zhang (192) WISCONSINGreen Blue Mountain, 2013Digital print, ed. 1/8. 2 x 2. $88

Daniela Zekina (135) CANADAMots 2, 2013Drypoint, ed. 1/10. 1 7/8 x 1 7/8. $90


ARGENTINA

Eva Toker Jawerbaum (301)Buenos Aires

AUSTRALIA

Nicci Haynes (295)Canberra

Cleo Wilkinson (6)Indooroopilly

AUSTRIA

Lukas Jakoc Locker (294)Linz

BANGLADESH

Subho Saha (88)Dhaka

BULGARIA

Yanko Hristo Terziev (324)Sandanski

CANADA

Peter Boyadjieff (136)Montreal, QC

Gene Chu (10)Markham, ON

Briar Craig (316)Kelowna, BC

Heather Huston (156)Calgary, AB

Baljit Kharey (46)Calgary, AB

Madeline Sauvé (212)Vancouver, BC

Valerie Syposz (1)Ottowa, ON

Lili Tayefi (44)Calgary, AB

Daniela Zekina (135)Montreal, QC

CROATIA

Ivana Gagic Kičinbači (226)Zagreb

ENGLAND

Anne Desmet (137)London

Lee Haydock (130)Preston

Christopher Moon (173)Newmalden

Mark White (244)Liverpool

ESTONIA

Reti Saks (169)Tallinn

FRANCE

Marcelle Benhamou (287)Lyon

Lynn Shaler (261)Paris

GERMANY

Ursula Hulsewig (306)Landscheid

Gerda Muehl (69)Senden

Sigrid Muench-Metzner (252)Lilm

Marianne Riss (68)Krumbach

Josef Werner (201)Prien

Hildegard Winkler (5)Königsbrunn

INDIA

V. Saravana Ragavan (278)Chennai, Tamil Nadu

IRELAND

Grainne Dowling (8)Dublin

Susan Early (98)Dublin

Ann Kavanaugh (254)Dublin

Eilish McCann (266)Dublin

Margaret McLoughlin (290)Dublin

Aaron Smyth (289)Dublin

ITALY

Emilia Bonfanti (302)Busto Arsizio

Eugeniya Hristova (313)Viterbo

Carlotta Superti (284)Firenze

JAPAN

Akari Sugimoto (74)Tokyo

Shigeki Tomura (240)Morioka

Chikako Usui (210)Hiroshima

LATVIA

Pēteris Justovičs 298)Ogre

Nele Zirnite (62) Riga

LITHUANIA

Sigita Bronickiene (311)Kaunas

Oksana Judakova (133)Ukmergesraj

MEXICO

Roberto Martinéz Schütt (262)Monterrey, Nuevo León

NETHERLANDS

Lisetteh (242)Cita de Laan

PORTUGAL

Ines Mesquita (318)Lisboa

ROMANIA

Alexandru Jakabhazi (315)Timisoara

Adriana LucaciuTimisoara

SCOTLAND

Lisa Gribbon (111)Inverurie

SERBIA

Vladimir Veljasevic (42)Beograd

Katrina Zaric (317)Belgrade

SLOVAKIA

Zdenek Bugan (50)Ruzomberok

SLOVENIA

Mihael Prečič (269)Kranj

SOUTH AFRICA

Angus Buchanan (166)Cape Town

Kirsty Olivier (167)Cape Town

Michele Rolstone (168)Cape Town

SWEDEN

Ewa Carlsson (233)Östersund

Bo Cronquist (157)Luno

Maria Heed (4)Mölndal

SWITZERLAND

Sabine Huber (291)Movelier

INDEX OF EXHIB IT ING ARTISTS BY COUNTRY

THAILAND

Kraisak Chira Chaisakul (28)Bangkok

UKRAINE

Konstantin Kalynovych (241)Lugansk

UNITED STATES OF AMERICA

CALIFORNIALiz Lyons Friedman (198)

AptosJulianne Ricksecker (293)

San DiegoJana Zimmer (129)

Santa Barbara

COLORADOTheresa Haberkorn (143)

BoulderSelina Karim (246)

Fort CollinsDakota Clay Nanton (303)

LongmontDjavan Nascimento (225)

Boulder

CONNECTICUTBetty Ball (181)

RowaytonKevin DiMauro (152)

NorwalkKatharine Draper (49)

NorwalkCarol Dunn (197)

BalticAlanna Fagan (231)

MilfordOi Fortin (296)

New HavenBarbara Gray (100)

WestportMari Gyorgyey (79)

StamfordAmy Lowey Horowitz (91)

WestportBonnie Johnson (95)

New Fairfield

Karen Kalkstein (112)Stamford

Catherine Lucia (101)West Redding

Susan Newbold (132)Fairfield

DeAnn Prosia (185)Newtown

Renée Santhouse (264)Wilton

Rayfield Scott (180)Hartford

Eileen Tavolacci (182)Redding

Tracy Van Buskirk (215)Newtown

Heather N. Varco (263)Norwalk

DISTRICT OF COLUMBIALaura Kinneberg (260)

Washington D.C.

ILLINOISPhilip Johnson (307)

ChinoaJim Pearson (255)

Lawrenceville

MAINEKaren Adrienne (72)

Gardineri

MARYLANDRachel Precht (151)

FrostburgBrian Wilson (147)

Cumberland

MASSACHUSETTSEugenie Lewalski Berg (123)

ShrewsburyErika Buschmann (247)

BeverlyAmy Geyer (243)

CohassetChristopher Howe (258)

Somerville

MICHIGANCindi Ford (188)

Byron Center

NEW MEXICOJan Vanderburg (116)

Cedar Crest

NEW YORKMichael Arike (248)

MamaroneckPatrick DeCicco (238)

Staten IslandKatharine Dufault (160)

MamaroneckMaxine Feldman-Cohen (128)

BronxSally Frank (214)

North SalemNina Jordan (224)

New YorkChanning Lefebvre (7)

LathamLenny Librizzi (51)

Staten IslandJames Mullen (55)

EndwellStephanie Navon (228)

BellmoreThom O’Connor (47)

VoorheesvillePia Öste-Alexander (107)

BearsvilleMimi Rosenwald (234)

OssiningCarolyn Sheehan (200)

New YorkRobin Sherin (250)

New YorkAnn Tanksley (141)

Great NeckMaliya Travers-Crumb (118)

AvonEmily Trueblood (199)

New York

NORTH CAROLINADonald Furst (59)

Wilmington

PENNSYLVANIAElena Bouvier (300)

PhiladelphiaMatthew Forrest (285)

PittsburghSergey Zlotnikov (220)

Pittsburgh

RHODE ISLANDMarian L. O’Connell (229)

Middletown

SOUTH CAROLINACarol J. Henry (308)

Beaufort

TENNESSEEGuen Montgomery (217)

Knoxville

TEXASJanet Best Badger (140)

Houston

VIRGINIAViviane De Kosinsky (187)

Falls Church

WISCONSINXiaohong Zhang (192)

Fort Atkinson



A hand-made print is created by the artist who prepares the plate from which the print is printed using a variety of methods depending on the type of print involved. It is not a finished piece of artwork that is copied and printed by mechanical means. A digital print is made on a computer using the computer to create a piece of artwork. Many purchasers of art work buy what they think is a hand-made print when what they really buy is a photocopy of a watercolor or oil painting frequently numbered and signed by the artist. Sometimes the signature is a printed one and is valueless as such.

Most prints are printed on dampened paper. The paper is soaked from fifteen minutes to several hours. When ready to print the artist dries the paper between blotters or towels until any wet areas are blotted away. This softens the sizing and makes the paper more receptive to the ink and in the case of intaglio or embossing allows the paper to be actually pressed into the plate. These papers are heavy rag papers like Arches or BFK. Light Japanese rice papers are not dampened usually.

While oil based ink is necessary for lithographs other prints can be done with either oil or water based ink. Water based ink will dry quickly which gives the artist less time to ink the plate, especially in a monotype or any plate using several colors. However the finished print will dry within a day. Oil based ink can be worked with for several hours before printing but the finished print will take several days to dry completely. In any case the plate must be cleaned thoroughly before storing as dried ink will distort future prints.

INTAGLIO: The image is cut into the material. Intaglio methods include:

ETCHING: A copper or zinc plate, well polished, is coated on all surfaces with an acid resistant ground (a type of varnish). A sharp tool is used to scratch through the ground in the manner of a pen and ink drawing. The plate is then immersed in the acid bath (usually diluted nitric acid) and watched while the acid eats the metal wherever the scratched lines have been made. If some areas are meant to be lighter than others the plate is removed, rinsed and dried and the area painted with an acid-resistant coating, called “stopping-out varnish”, and the plate is returned to the acid as soon as the varnish is dry. This can be done several times, as the deepest lines will hold the most ink. The plate is then rinsed, dried and the varnish removed. Etching ink is then pressed onto the plated until all areas are covered. Then the ink is wiped off the plate with tarlatan - a stiff gauze fabric, which while cleaning the plate leaves the ink in the etched lines. Wiping the plate is an art in itself; too much wiping creates a pale print and too little a dark muddy print. Further polishing of light areas can be done with a page from an old phone book or unprinted newsprint. The plate is then placed on the bed of the press and the dampened paper over it. The paper picks up the ink from the acid bitten crevices and the finished product is an etching.

DRYPOINT ETCHING: The bare plate is scratched with a sharp tool straight into the plate, which can be copper, zinc or plastic. This is hard work as even a plastic plate is hard to scratch very deeply. Today electric tools are often used to aid in the incising of lines. In doing this a burr is formed which gives a slightly different quality to the finished print. As the burr wears off in printing the prints will vary a little. The plate is inked and printed in the same way as an etching.

SOFT GROUND ETCHING: The varnish ground is softened with Vaseline and then mesh, fabric, string, etc. can be put on the plate and run through the press, creating an impression of the items in the ground. The ground can also be marked with a pencil, toothpicks, etc. The plate is placed into an acid bath like an etching and stopping out varnish can be used. The plate is cleaned, inked and printed as is an etching and the result is a soft ground etching. The resulting images are softer rather than the linear crispness of an etching.

AQUATINT ETCHING: Powdered rosin is sifted evenly onto a clean polished metal plate and is then heated on a hot plate to melt the varnish enough so that it adheres to the plate. Too much heat and it will melt the particles into each other. The plate is put in the acid bath and removed each time that stop-out varnish is needed to create the image from light to dark areas. There is no line drawing, just wash areas, somewhat like a watercolor painting. The edges of the areas are burnished by rubbing with a metal tool to blend them. The cleaning, inking, wiping and printing are the same as an etching.

G L O S S A RY O F P R I N T M A K I N G T E R M S A N D T E C H N I Q U E S

WHAT IS A HAND MADE PRINT?


COLOR and COLORED ETCHINGS: A color etching has the color inked into the plate with colored etching inks. It can be done by applying each color separately to the plate and carefully wiping or with a separate plate for each color requiring very careful registration for printing each plate on to one piece of prepared paper. Either method is time consuming and requires endless patience. A colored etching is an etching printed in the usual way that later has color added to it with paint or perhaps pastel. It’s a quick and easy way to color an etching but is not an integral part of the print.

ENGRAVING: An engraving tool is used to cut a line into a plate. The cut is very cleanly made without any burr and without the slight roughness of acid biting. It is difficult and nerve-wracking work that requires precision and patience and the tools must be constantly sharpened. The deeper cuts are darker as they hold more ink and as the tools are apt to slip many an error has to be burnished out (rubbed with a metal tool) before proceeding.

MEZZOTINT: Special expensive tools are used in “rocking” across the plate vertically, horizontally, and both diagonals. When the surface is com-pletely scored, which may take a day or so, and then the design image is carefully burnished erasing the scored surface. The plate is inked, wiped and printed as in an etching. The result is a rich velvety black with soft edges to the light image areas.

PHOTOGRAVURE: A general term for any metal plate process in which an image has been transferred to a metal surface by photographic means. A corrosive bath is used to incise the image into the plate before inking and printing. Photo-etching is a term alternatively used.

Any of the above ways of making an etching can be used in combinations to achieve very unique and interesting handmade intaglio prints.

SOLARPLATE: is a simple approach and safer alternative to traditional etching and relief printing. Since Dan Welden’s development of the process in the 1970s, printmakers, painters, photographers, and art teachers interested in multiple impressions have utilized printmaking with Solarplates. Solar plates are steel-backed, light sensitive, photopolymer printmaking plates. After exposing with U. V. light, the plate is developed with water. Solar Plate may be exposed using sunlight, but an exposure system and vacuum frame gives more consistent results.Both positives and negatives can be utilized; intaglio and relief printing techniques can be applied.

RELIEF PRINTS: The design remains on the surface and the unnecessary parts are cut away. Relief prints include:

WOOD CUTS: A piece of wood is carved with wood carving tools (gouges) and the remaining surface is inked with an ink roller (brayer). Often the grain of the wood is incorporated into the pattern. It can be printed on a press or by hand rubbing with a baren or wooden spoon, etc. More than one color can be used, but more often a separate wood block is used for each color. Either oil based or water based ink can be used and a variety of different papers.

WOOD ENGRAVING: The wood used has no grain as the blocks are made with the grain on the vertical. The end of the block is carved and fine detail can be achieved. Separate blocks are usually used for more than one color.

REDUCTION WOOD ENGRAVING: All the colors of a design are left on the block and the whole block is inked in the lightest color. More than the required number of prints a are made of that first color. Then the part of the block that bears only the first color is cut away and the next color is printed. This is repeated for each color cutting the color away after each set of prints. Precise registration is very important. In the end the block is destroyed and if fifty prints were made to begin with, perhaps thirty-five or forty might be successfully carry all the colors in registration..

LINOLEUM and SOFT PLASTIC: These plates are carved with special tools and are softer and easier to work with and have no grain. More than one color can be inked on one block or separate blocks can be carved for each color. The printing can be done with a press or by rubbing. Various papers can be used.

COLLOGRAPH: Similar to a relief print, but instead of carving into the plate, the image is built up on the surface of the plate. The base plate can be cardboard, plastic, metal, wood or anything available. Then the design is made up of cut out paper, card stock, fabric, string, netting, lace, feathers, drizzled and dried glue, etc. When everything is glued down and dried the whole plate is sprayed with spray paint or varnish so that the plate can later be cleaned. Then the plate is inked with one or more colors, either water base or oil, and printed as a woodcut. The plate can be inked in various ways many times and cleaned for storage.


EMBOSSING: A plate with a raised design somewhat like a collograph is printed on heavy prepared paper using no ink. Displayed with good lighting the embossed design can be very effective.

LETTERPRESS: A relief technique for printing movable type (though blocks with images may also be used). Metal, wood, or polymer forms of a standard height are set in place in the bed of a press. Since ink is transferred from the surface of the blocks by the application of pressure, let-terpress prints are recognizable for their embossed printed forms.

LITHOGRAPHY: Since oil and water do not mix, if the plate is kept wet and the design has been done in oil, the wet plate can be inked in oil ink and printed on prepared paper. The oil base ink adheres only to the design area and is rejected by the wet areas and is printed on a special press. Lithography encompasses:

STONE LITHOGRAPH: Lithograph translates to “Stone print” and all were originally done on specially prepared stones. The stones are heavy and expensive. The design is drawn on a stone with a grease crayon or painted with a grease base ink (called tusche). When finished it is treated and cleaned and in appearance looks like a blank stone once again. However the design is there and while the stone is kept wet the ink is applied with a brayer. The oil base ink adheres only to the design area and is printed on a lithography press. Separate stones are used for separate colors.

ZINC PLATE LITHOGRAPHY: A specially treated zinc plate is used much as a stone, but is cheaper and easier to handle. The fine shading achieved on a stone is not quite as attainable on zinc.

PAPER LITHOGRAPHY: A paper printed from a copy machine has an oil base toner (computer ink is water based and will not work). Since wet paper is fragile the paper is sprayed with water and flattened onto a plastic plate. In order to keep the paper wet it is coated with liquid gum Arabic. A small amount is spread on the wet paper and allowed to rest about five or ten minutes. Then more water is sprayed on the paper and the ink is applied. Ordinary oil paint works well as the ink must be soft since the wet paper is fragile. A few drops of linseed oil helps. Paint that is too stiff will tear the paper and if too soft will result in a pale print. The color is applied with a brayer and washed off. This step is repeated two or three times and then excess water is gently blotted off and the plate is ready to print on prepared dampened paper. An etching press works well. Any color or combination of colors can be used, but only applied with a brayer on very wet paper. The photocopied print can be constructed from anything - pen and ink drawing, a photo, cut outs, feathers, just about anything you can copy. The size is limited by the copy machine paper.

POLYESTER PLATE LITHOGRAPHY: (PRONTO plate printing), a new and nontoxic form of lithographic printing was developed by George Roberts while he was Professor of Printmaking at Boise State University. Polyester Plate Printing started as a low cost yet professional form of commercial offset lithography. The medium is capable of reproducing the full spectrum of lithographic marks such as: hand drawn brush strokes, ink wash, texture, crayon and pencil marks, and is equally well suited for digital imaging. Plates can be also imaged directly with a laser printer or a photocopier. The process is more straightforward than conventional lithography as the plate does not require chemical processing in the form of etching with acid.

CHINE COLLÉ: The process of adhering one piece of paper to another by using a liquid adhesive and running them together through the printing press. Chine is French for “China,” which refers to the thin Asian paper originally used with this technique, and collé means “glued.”

SCREEN PRINTING: In essence this comprises a hand-cut or photographic stencil with the silk mesh of the screen holding the stencils parts in place.

A piece of silk mesh fabric is stretched onto a wooden frame. The frame is hinged on one side to a base. A drawing is placed under the silk and any part of the silk that is not the color to be printed is stopped out with a glue or lacquer or a photo process can also be used. The bare silk that is not painted out will allow the ink to be squeezed through the silk. After the prepared screen is dry the paper to be printed is put in place. If more than one color will be used in the print the placement of the paper is critical. The paint is placed on one end of the screen and dragged across the silk with a rubber squeegee. The frame is lifted enough to remove the paper and replace it with the next piece and the paint is dragged back again and so on until the full number of prints are made. The printing is very fast - a minute or so per print. The set up of the image on the screen takes a good bit of careful planning. The screen is then cleaned of the paint and the stencil removed and the stencil for the next color is put on the screen. Many different colors can be combined on one print and the stencil can be done in a painterly way or a crisp cut out stencil or with photography.

Either water base or oil base paint can be used.


MONOTYPES: a one of a kind print. A second print, called a “ghost” can be made but will look very much lighter.

MONOTYPE: A plastic plate has ink applied to it with brush, sponge, brayer, etc. Any color or design can be used. Feathers, lace, string, etc. can be placed on the plate; ink on the plate can be manipulated with fingers, Q-tips, brushes, etc. Thick paint will slide off in printing and too thin paint will dry out and not print. The plate is placed on an etching press and the dampened paper on top. After the print is made a second print can be made from the same plate, but they will look very different. Before cleaning the plate the design can be manipulated with added paint, etc., but the result is still a one of a kind impression.

The CLAYPRINT MONOPRINT is an innovative process created by Mitch Lyons in the 1960’s and continually developed by him even today. The “plate” for the print is a leather hard slab of stoneware clay. The media is white slip mixed with house paint colorants and ceramic stains to produce a rainbow of colors. The colored clays in the form of slip, moist clay, and powdered chalks are applied to the slab using a full range of painterly, printmaking, and ceramic techniques. Once the image on the slab is complete, a slightly dampened sheet of Reemay interfacing canvas is carefully laid on the slab, and light pressure is applied by hand to lift a thin layer of colored clay from the surface. The colored clays bond to the interfacing to produce an archival monoprint.

STENCILS: Cut out pieces of card stock can be inked, arranged on prepared paper and printed either on a press or by hand.

The CLICHÉ VERRE Process is a cross between art and photography. It Is a method created using photography equipment but can be done on pieces of art, not just photographs. The method consists of etching, painting or drawing on a transparent surface, such as glass, thin paper or film and printing the resulting image on a light sensitive paper in a photographic darkroom. This process originated in France in the early 19th century. Contemporary cliché verre artists also utilize scanners and editing software to produce the images on acetate or as digital prints.

WHAT ARE THE INSCRIPTIONS ON THE BOTTOM OF THE PRINT?

Traditionally, signifying inscriptions are written in pencil at the bottom of a print. Reading from left to right, the inscriptions indicate the edition number, the title of the artwork, and the artist’s name (and sometimes the date), e.g. 2/30 Untitled #1 A. Smith, 2012

Artist’s Proof (A.P.) A print reserved for the artist and not included in the numbered edition. An artist’s proof can be identified by the inscription “A.P.” found in the lower left-hand margin instead of a number. Printer’s proofs are reserved for the printer and are inscribed “P.P.”

Bon à Tirer (B.A.T.) A print that is not included in the edition, but which indicates the standard a printer tried to duplicate for the edition. A print which is bon à tirer (translated from French as “ready to pull”) can be identified by the inscription “B.A.T.” found in the lower left-hand margin.

What is an Edition?A set of identical prints made from the same matrix (or set of matrices). Often a number of other prints – artist’s proofs, printer’s proofs, bon à tirer, and hors commerce (“not for trade”) prints – are made at the same time but are not considered to be part of the numbered edition. Each print in a limited edition is usually numbered in the lower left-hand margin. The form of this inscription is as follows: number in the edition/size of the edition (i.e. 15/50). To guarantee a limited edition, the artist or printer can “strike” or cancel the plate by incising an X on the printing face after completion.

ATTRIBUTIONThe majority of the descriptions above are attributed to Elizabeth MacDonald, with additional material by Julyen Norman.


About CCPThe Center for Contemporary Printmaking is a nonprofit multimedia studio and gallery dedicated to the art of the print. At CCP artists can

work independently, collaborate with master printers, or enroll in workshops conducted by nationally recognized artists. We provide studios,

equipment, and technical expertise. Exhibitions of original prints are held regularly in the gallery, and diverse educational programs are of-

fered for experienced and emerging artists.

The Exhibition Program at CCP

Each year, the Center for Contemporary Printmaking (CCP) hosts a series of exhibitions in the Grace Ross Shanley Gallery, including works by

established professional artist/printmakers, the Biennial Footprint International Print Exhibition (on even numbered years), the Biennial Interna-

tional Miniature Print Exhibition (on odd numbered years), and an Annual Members’ Exhibition.

We wish to acknowledge and thank the following foundations and organizations for their help and support in enabling the

Center to service the local community:

City of Norwalk, CT

Connecticut Art Trail

Frederic R. Coudert Foundation

The Daphne Seybolt Culpeper Memorial Foundation

Fairfield County Community Foundation

Helen Frankenthaler Foundation

Wolf Kahn & Emily Mason Foundation

Mr. & Mrs. Charles P. Kontulis Fund

Norwalk Advisory Commission on the Arts & Culture

TD Bank

Wescustogo Foundation

Xerox Foundation

PURCHASE AWARDS SPONSORS

Legion Paper Inc.

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9th Annual International Miniature Print Exhibition 2013 CATALOG