Acknowledgements

The Boston Printmakers wish to thank our distinguished juror Willie Cole for selecting this spectacular exhibit. We are grateful to Lesley University Dean of the College of Art and Design Richard Zauft, Gallery Director Bonnell Robinson and Assistant Gallery Director Andre Mroczek for hosting the 2015 North American Print Biennial in the beautiful new Lunder Arts Center. We especially appreciate their dedication to excellence and enthusiastic support for The Boston Printmakers.

Please take a look at the impressive list of material awards from our sponsors and the names of our patrons in this catalog and you will see the many generous ways they champion our efforts to support printmakers and educate the public about the complex world of printmaking. We can’t thank our sponsors and patrons enough for this assistance in support of our efforts.

Thank you to the 699 artists from 49 states, 7 Canadian provinces, Puerto Rico and Cuba for nearly 2000 submissions. The number of entries truly represents a passionate response and further expresses the relevance and vitality of contemporary printmaking.

I would also like to thank the Board of The Boston Printmakers for their hard work and dedication. They not only pull together the North American Print Exhibition every two years but also our many members’ shows, travel opportunities, website and newsletter. I am continually inspired by their loving commitment to the art of printmaking.

Liz ShepherdPresident

The Boston Printmakers Executive Board

The prints in this exhibition are for sale; in many cases, multiple originals are available. Prints may be purchased at the Lunder Arts Center at Lesley University College of Art & Design, or after the exhibition, by contacting The Boston Printmakers, Lesley University College of Art and Design, 29 Everett Street, Cambridge, MA 02138 or by email: info@bostonprintmakers.org

ISBN 978-0-9910464-2-3 Copyright 2015 by The Boston Printmakers, Inc.

Liz ShepherdRenee CovalucciChristiane CorcelleDeborah CornellSusan DennistonAlex GerasevEric GoldbergSharon HayesSandra CardilloStephanie Mahan StiglianoMarjorie Javan

Theresa MonacoKy OberJulia TalcottLois TarlowMary TaylorDave ThomasBob TomolilloMalgorzata ZurakowskaVivian Berman – EmeritusSid Hurwitz – Emeritus

The Boston Printmakers2015

North American Print Biennial

The Lunder Arts Center Lesley University

College of Art & DesignCambridge, MA

2015 JurorWillie Cole

November 8 – December 12, 2015

Juror’s Statement

I am an artist who makes prints but I am not a printer. What I mean is that all my prints are collaborative. I show up at a print studio with a concept or sketch and then throw myself at the mercy of the master printers who then execute my ideas. These master printers have been my teachers, both technically and aesthetically. They bring their technical expertise to every project and I bring my vision. That’s what collaboration means. But the real creativity rises when my ignorance crashes into their expertise. And when it does, that’s when I know I’m really doing my job. And what is my job? My job is to push them beyond their scope of knowledge, and to challenge them to employ unorthodox and innovative approaches to printing.

With that said I will go on to say that, from the pool of entries for this year’s Boston Printmakers 2015 Biennial, I selected the pieces that inspired me the most. They were the ones that showed the broadest range of possibilities of what printmaking can be. They were the ones that triggered full scenarios in my mind in a single frame without the use of words. They were techniques brilliantly executed. They were stories well told and emotions deeply expressed.

In a world where any and all things are possible, it was surprising that narrative story-like images seemed to dominate this year’s entry pool. In a way it felt as if I were selecting films for a festival rather than prints for an exhibition, and that all my selections had to be made based on viewing just one single frame from each film. The parallels with film and print were obvious to me not just in the subject matter but also in the lighting techniques, perspective, and point of view of many of the entries. Surrealism, German expressionism, film noir, Italian neo-realism, magic realism, and photography in general were and apparently still are big influences on how we view and represent the human experience in printmaking, and maybe even in art in general.

All the entries both confirm and emphasize that printmaking is the missing link between the so-called fine arts, i.e. painting, drawing, and sculpture, and commercial or graphic arts, i.e. photography, film, type, and illustration. Perhaps that’s what pop art is, too. And if you agree with that then Andy Warhol, arguably the most famous printmaker of the 20th century, must have been Moses. We can blame or thank Andy for taking printmaking to new heights, at least in the marketplace. But the number of print editions he left behind dwarfs the number of technical innovations he achieved. And it’s technical innovation that, in my opinion, makes real winners and really moves a medium forward.

With so many entries moving in the direction of storytelling, all or any entries slightly less representational or narrative stood out most. They, more often than not, reflected popular movements in western or European abstraction, and a clear understanding of art history, while at the same time (pursued or not) offered the greatest possibility for the employment of innovative techniques. And new techniques, not just in storytelling but in image execution, in my opinion, is what it should really be all about. I recognize that this is not any easy task. But think about the differences between classical music and jazz. Ask yourself how swing became bebop, and maybe you will get closer to an answer. Mastering existing techniques and practices in any art form is just the beginning.

Willie Cole

The Boston Printmakers’2015 Patrons

Lynn BarlowAll Bright TravelStoneham, MA

In Memory of Ture BengtzDuxbury, MA

John Bogis & Zoe CaulfieldWinchester, MA

Helen Citron BoodmanLexington, MA

Susan BrokawWinchester, MA

Lawrence Carpman & Pamela PriceMarshfield, MA

Danny Y. ChangKoy-Korean Fusion RestaurantBoston, MA

Jodi ChangArt and Frame SourceNorth Andover, MA

Renee CovalucciConcord, MA

Lisa DuffyPrides Crossing, MA

Howard I. GoldsteinNewton, MA

Donald & Kathleen GoliniReading, MA

Debbie & Michael HaganAndover, MA

Paul J. HayesHayes Messina Gilman and Hayes, LLCBoston, MA

Brett J. HolmgrenRobert M. Curry and AssociatesBoston, MA

Harriet Berkman Hunt and FamilyWeymouth, MA

Katherine Ingraham & Richard BerginBrookline, MA

Arthur & Phyllis LevineNewburyport, MA

Lawrence & Catherine LingleyAmesbury, MA

Kevin M., Amy M., Amanda L. & Francesca A. O’BrienWinchester, MA

Stephen Perry & Oliver RadfordCambridge, MA

Heather & Jeremy PozenNewton, MA

Gilles QuintalJamaica Plain, MA

Robert RovenoltBoston, MA

Judith & Hanno SteenBrighton, MA

Meghan SullivanNorth Smithfield, RI

Carol Taylor & John DeknatelBrookline, MAMichael TucciBoston, MA

Kellee TwadellRose and Dove Specialty GiftsNorth Andover, MA

Sharon WalkeySaugus, MA

Ken & Kerry WashburnSwampscott, MA

Pamela YameenNorth Andover, MA

With Special Thanks To

Full Tilt Print StudioBoston MA

2015 Awards:Selection of the Juror, unless otherwise noted

Purchase Prizes:

The Boston Printmakers Prize Collection: The Boston Public Library Abby DuBow, DisCards, mixed media monoprint on discarded library cards

The Graphic Chemical Prize Collection: Graphic Chemical and Ink Company, Villa Park, ILJon Goebel, Pursuit of Latitude, drypoint, aquatint

The Otis Philbrick Memorial PrizeCollection: The Museum of Fine Arts, Boston, selected by Cliff AckleyJenny Robinson, Infrastructure #2, drypoint

The Ture Bengtz Memorial Prize Collection: The Art Complex Museum, Duxbury, MA Leah de Prizio, Cyrillic Diptych (3), woodcut on fabric

Materials Awards:

Blick Art Materials, Galesburg, ILKathy Aoki, Gangnam Style (at the Moulin Rouge), lithographAndy Owen, Heatwave, collagraph

Boxcar Press, Syracuse, NYDonna Catotti, Waiting for the Tide – Alaska, screenprint

Constellation Studios, Lincoln, NEMarina Brownlow, Bloodline 4, monoprint

Gamblin Artists Colors, Portland, ORDonald Furst, 3:20am, mezzotintLina Monclus, Distortions, monotype, linocut, chine collé, sewing, drawing

Hiromi Paper International, Santa Monica, CAJustyne Fischer, Loosie Law, woodcut on voile

Legion Paper/Moab Paper, New York, NYCoco Berkman, Petflicks, linocutRobbin Juris, FSA67 Abraham/Isaac, digital pigment print

McClain’s Printmaking Supplies, King City, ORNeal Harrington, Spirits, woodcut, India ink wash

Mixit Print Studio, Somerville, MACoco Berkman, Down in the Grey Zone, reduction linocut

MOO, Boston, MAAnn Conrad, Motherboard 1, intaglio, reliefMary Strandell, Mad Men Stairs (with Virginian Silver), 3-D lenticular print

Muskat Studios, Somerville, MAHelen Cantrell, Suburbia Night Wind, woodcut

Oehme Graphics, Steamboat Springs, COJenny Robinson, Infrastructure #2, drypoint

Savoir-Faire: Charbonnel, Novato, CAVictoria Elbroch, One Unclouded Blaze, monotype

Savoir-Faire: Fabriano, Novato, CANorberto Marrero, Ventanas, artist book

Singer Editions, Boston, MAStanley Squirewell, Anyanwu II, acrylic on pigment print

Takach Press Corporation, Albuquerque, NMJack Damar, Death of Whimsy, lithograph

Zea Mays Printmaking, Florence, MAShirley Bernstein, Eye Cloud, reduction woodcut

Checklist

All dimensions are in inches, height preceding width.* Member of The Boston Printmakers† 2015 Juror Award

Kathy Aoki Santa Clara, CA

1.Gangnam Style (at the Moulin Rouge) †

Lithograph24 x 36 $1350

Kathy Aoki Santa Clara, CA

2.The Twerking LessonPhotopolymer intaglio8 x 10 $650

Frances Ashforth Ridgefield, CT

3.Water Study 33Monotype22 x 22 $1100

Frances Ashforth Ridgefield, CT

4.Water Study 34Monotype22 x 22 $1100

June August *North Hampton, NH

5.Kiss at L’Hotel de VilleScreenprint31.5 x 44 $1175

Jane Banquer Peaks Island, ME

6.Calm After the Big StormWoodcut13 x 14 $200

Stephen Barnwell Wayne, NJ

7.American Relief BondDigital print with mixed media11 x 8.5 $300

Stephen Barnwell Wayne, NJ

8.Perpetual War Bond, Series 2014Digital print11 x 8.5 $300

Edward Bateman Salt Lake City, UT

9.Specimen No. 1 from Five AnomaliesPigment print from 3D digital construction20 x 20 $350

Judy Bergman Hochberg *Canton, MA

10.The CornfieldPolymer plate photogravure9.5 x 17 $350

Judy Bergman Hochberg *Canton, MA

11.The Last Stop #2Polymer plate photogravure15 x 10 $300

Coco Berkman *Gloucester, MA

12.Down in the Grey Zone †

Reduction linocut18 x 24 $450

Coco Berkman *Gloucester, MA

13.Petflicks †

Linocut36 x 24 $180

Shirley Bernstein *Hampton, CT

14.Cloudy CeilingReduction woodcut10 x 22 $450

Shirley Bernstein *Hampton, CT

15.Eye Cloud †

Reduction woodcut12 x 22 $450

Rebecca Bleau Grass Valley, CA

16.Ladies, Don’t Lose Your HeadsScreenprint23.5 x 13.5 $650

Becky Blosser Lancaster, PA

17.Trap Study 2Screenprint10 x 10 $250

Becky Blosser Lancaster, PA

18.Trap Study 3Screenprint10 x 10 $250

David Blow *Hickory Creek, TX

19.We All Go BlindDigital print12 x 20 $350

Marina Brownlow Santa Fe, NM

20.Bloodline 1Monoprint40 x 30 $2800

Marina Brownlow Santa Fe, NM

21.Bloodline 4 †

Monoprint40 x 30 $2800

Marina Brownlow Santa Fe, NM

22.Bloodline 5Monoprint40 x 30 $2800

Rachel Bruya Madison, WI

23.Meeting the SkyLithograph construction12 x 12 x 4$500

Quenby Bucklaew Jamaica Plain, MA

24.Causeway Bay RushCollagraph, linocut, gum arabic transfer9 x 7 $250

Anne Burton Lincoln, NE

25.CheerWoodcut13 x 19 $225

Helen Cantrell Old Lyme, CT

26.Suburbia Night Wind †

Woodcut36 x 72 $4000

Helen Cantrell Old Lyme, CT

27.Suburbia Pink NightWoodcut36 x 72 $4000

Sandra Cardillo *Framingham, MA

28.Connections 1Solar plate etching15 x 11 $300

Sandra Cardillo *Framingham, MA

29.Connections 2Solar plate etching mounted on wood panel8 x 8 x 2$250

Donna Catotti Haines, AK

30.Waiting for the Tide - Alaska †

Screenprint18 x 6 $165

Liz Chalfin *Florence, MA

31.Peso TaxiEtching12 x 16 $250

Ann Chernow *Westport, CT

32.MoonlightLithograph11 x 14 $500

Ann Conrad New Canaan, CT

33.Motherboard I †

Intaglio, relief40 x 32 $4200

Candice Corgan Albuquerque, NM

34.Choose Your PoisonLithograph8.5 x 8.5 $80

Candice Corgan Albuquerque, NM

35.PlaytimeLithograph, chine collé22.5 x 22.5 $300

Damian Cote *Holyoke, MA

36.Untitled, from the series “Letters to Dr. Ehrlich”Intaglio9 x 12 $300

Kevin Cummins *Chester Springs, PA

37.Chalk DrawingEtching, aquatint11 x 14 $500

Jack Damer Madison, WI

38.Death of Whimsy †

Lithograph12 x 15 $750

Leah de Prizio *Boston, MA

39.Cyrillic Diptych (3) †

Woodcut on fabric18 x 38 $1400

Paula DeSimone Plainville, MA

40.Metamorphosis IMonotype, chine collé17 x 40 $1800

Jacob Diaz Boise, ID

41.Immortality Through Biology 1Screenprint on paper, wood48 x 30 x 1$500

S. Dickey *Columbus, MS

42.Next Time We LiveDimensional screenprint18.75 x 42.25 x 3$1700

Beth Dorsey Minneapolis, MN

43.2 x 2 Black and BrickMonoprint24 x 18 $950

Abby DuBow New York, NY

44.DisCards †

Mixed media monoprint on discarded library cards25 x 27 $1100

Jessica Dunne San Francisco, CA

45.Bus, UlloaSpit-bite aquatint6 x 9 $800

Jessica Dunne San Francisco, CA

46.Commuters, SalzburgSpit-bite aquatint4 x 6 $400

Barbara Duval Charleston, SC

47.Untitled 01Woodcut, chine collé28 x 34 $400

Barbara Duval Charleston, SC

48.Untitled 02Spit-bite etching28 x 34 $400

Matthew Egan Greenville, NC

49.Dinner PartyLithograph17.5 x 13 $500

Matthew Egan Greenville, NC

50.Near MaaloulaLithograph12 x 9 $350

Barbara Elam *Dallas, TX

51.Three Graces of RioLayered monotype37 x 28 $1600

Victoria Elbroch Kittery, ME

52.One Unclouded Blaze †

Monotype15.75 x 11 $295

Mike Elko Bloomington, MN

53.Grandma’s Raisin-Radium MuffinsScreenprint30 x 15 $300

Mike Elko Bloomington, MN

54.Tree RomanceScreenprint22 x 22 $350

Justyne Fischer Washington, DC

55.Loosie Law †

Woodcut on voile50 x 32 x 3$1400

Kirsten Flaherty Astoria, NY

56.Dollar StoreIntaglio, watercolor16 x 22 $250

Donald Furst *Wilmington, NC

57.3:20 a.m. †

Mezzotint12 x 12 $400

Donald Furst *Wilmington, NC

58.AfterglowMezzotint8 x 4.5 $250

Joan Karissa Gallego San Francisco, CA

59.LockedReduction linocut14 x 13 $300

Ron Garrett Boca Raton, FL

60.Magpie AmericanaIntaglio, hand-coloring18 x 24 $795

Ron Garrett Boca Raton, FL

61.Stingray FeverEngraved plasti-cut relief print72 x 39 $1695

Jon Goebel Hilo, HI

62.Pursuit of Latitude † Drypoint, aquatint17.5 x 11 $400

David Graves Santa Barbara, CA

63.Ascending DescendentsReduction woodcut27 x 15 $950

Dirk Hagner *San Juan Capistrano, CA

64.Guns L. A.Reduction relief34 x 32 $2200

Neal Harrington Russellville, AR

65.Delta OracleWoodcut, India ink wash32 x 24 $950

Neal Harrington Russellville, AR

66.Feather SignalWoodcut, India ink wash24 x 24 $800

Neal Harrington Russellville, AR

67.Spirits †

Woodcut, India Ink wash38 x 24 $950

Zoe Hawk Augusta, WI

68.GovernessLinocut14 x 11 $450

Su-Li Hung *New York, NY

69.Little Girl’s WorldWoodcut21 x 20 NFS

Nina Jordan New York, NY

70.612 Excelsior St.Woodcut14 x 22 $600

Robbin Juris Stamford, CT

71.FSA67 (Abraham/Isaac) †

Digital pigment print14.2 x 14.2 $750

Robbin Juris Stamford, CT

72.Untitled (FSA45D)Digital pigment print15 x 12 $750

Robbin Juris Stamford, CT

73.Zeus/AthenaDigital pigment print14 x 13 $750

Robin Koss Chatham, NJ

74.Walls Which Do Not Last, No.1Intaglio18 x 12 $1375

Judy Kramer *Cambridge, MA

75.The ChanteuseHand-colored screenprint15 x 11 $350

Cynthia Lollis and Daniela Deeg Decatur, GA

76.Der Prinz von LiegenlandScreenprint artist book10 x 6.8 x 1$400

Haley MacKeil Cambridge, MA

77.The Old WomanLinocut30 x 44 $500

Norberto Marrero Havana, Cuba

78.Ventanas †

Artist book10.4 x 8.8 x 1.6$1300

Donald Martin Saint Augustine, FL

79.GrassesLinocut24 x 24 $400

Michelle Martin Tulsa, OK

80.InfirmityEtching16 x 12 $400

Stephen McMillan *Bellingham, WA

81.Winter ReflectionsAquatint etching9 x 12 $180

Frederick Mershimer *Brooklyn, NY

82.After HoursMezzotint6.25 x 12 $450

David Mollett Fairbanks, AK

83.Our TownScreenprint15 x 15.5 $500

Lina Monclus Weston, Broward County, FL

84.Distortions †

Monotype, linocut, chine collé, sewing, drawing47 x 47 $1812

Jim Monson *Tourrette-Levens, PACA France

85.Sacred GrailReduction woodcut15 x 19.25 $650

Julie Nadel Jersey City, NJ

86.Elephant Ride - Coney IslandLinocut9 x 12 $325

Charles Norris Cambridge, MA

87.Dory IIWoodcut17 x 13 $800

Charles Norris Cambridge, MA

88.Islesford Ebb IWoodcut13 x 37 $1200

Marian O’Connell *Middletown, RI

89.QuholmeEtching, watercolor14 x 12 $300

Andy Owen Naples, FL

90.Heatwave †

Collagraph36 x 31 $850

Robert Patierno Dallastown, PA

91.Wrightsville QuarryReduction linocut16 x 12 $400

Jim Pearson Lawrenceville, IL

92.Anonymous Plant QWDigital inkjet print7.5 x 6 $300

Barbara Putnam *Southborough, MA

93.Fingers in the SnowWoodcut28 x 32 $1600

Jenny Robinson San Francisco, CA

94.Infrastructure # 2 †

Drypoint26 x 54 $2200

Ramiro Rodriguez South Bend, IN

95.Plutocracy RisingReduction linocut12 x 9 $80

Donald Rubinstein Santa Fe, NM

96.A Story LineArchival pigment print11 x 15 $1900

Masaaki Sato *New York, NY

97.Apple No.8 - RRScreenprint21.5 x 21.5 $800

Vinay Sharma Sacramento, CA

98.SFO SeriesDrypoint 24 x 36 $1200

Mark Sisson Stillwater, OK

99.Portrait of Mary Crone: Black Tie Cuts T-ShirtLinocut, woodcut, lithograph16.25 x 12.25 $500

Stanley Squirewell New York, NY

100.AlgorithmicC-Print30 x 35 $5000

Stanley Squirewell New York, NY

101.Anyanwu II †

Acrylic on pigment print48 x 34 $7200

Dan Steeves Sackville, NB Canada

102.A Large Overarching StoryEtching18 x 24.2 $900

Dan Steeves Sackville, NB Canada

103.Fifteen StonesEtching18 x 24.2 $900

Stephanie Stigliano *Malden, MA

104.Red MonstersMonoprint, chine collé, sumi ink 15 x 22 $500

Susan Stranc * Lowell, MA

105.Red Squirrel Blue SquirrelReduction linoleum30 x 44 $1200

Mary Strandell North Bergen, NJ

106.Mad Men Stairs (with Virginian silver) †

3-D Lenticular print12 x 20 $1200

Art Werger *Athens, OH

107.DescentEtching, aquatint24 x 24 $1200

Art Werger *Athens, OH

108.NightfallEtching, aquatint36 x 24 $1200

Thomas Wood Bellingham, WA

109.AdorationEtching7 x 7 $500

Jury Exempt Work by the Executive Board of The Boston Printmakers

Vivian Berman, Emeritus *Lexington, MA

110.A Quiet PlaceCollagraph, collage22 x 20$500

Christiane Corcelle *Belmont, MA

111.Mask #2Carborundum collagraph, monotype, chine collé20 x 20$600

Deborah Cornell *Lexington, MA

112.DarkLightArchival pigment print18 x 15 $700

Marc Cote *Framingham, MA

113.Florence and PaduaEtching, aquatint10 x 8 $300

Renee Covalucci *Concord, MA

114.Arizona SkyReduction woodcut12.75 x 19 $450

Susan Denniston *Scituate, MA

115.Infinite SeaEtching, aquatint, drypoint, chine colle7 x 7 $250

Alex Gerasev *Revere, MA

116.MoonLithograph5 x 4$180

Eric Goldberg *Philadelphia, PA

117.The LoversEtching, aquatint12 x 18 $350

Sharon Hayes *Andover, MA

118.WaitingEtching, chine collé14.5 x 18 $450

Theresa Monaco *Stoneham, MA

119.Memories of the MezzagiornoPhotopolymer intaglio8.75 x 9.25 $400

Ky Ober *Arlington, MA

120.Unearthed PlateCollagraph, drypoint, monoprint20 x 15 $600

Liz Shepherd *Boston, MA

121.Ardennes ReduxLinocut, hand-coloring37 x 13 $650

Stephanie Stigliano *Malden, MA

122.Moon HaloIntaglio, sumi ink8 x 6 $200

Julia Talcott *Newton, MA

123.Night FlightWoodcut, collage16 x 12 $350

Lois Tarlow *Newton, MA

124.Falling SquaresMonoprint15 x 11 $850

Mary L. Taylor *Marshfield, MA

125.Sea River DockDigital pigment print with encaustic, silver leaf on board24 x 24 x 2$1000

Bob Tomolillo *Lynn, MA

126.Al Mutanabbi StreetLithograph, chine collé15 x 12 $350

Malgorzata Zurakowska *Lexington, MA

127.Sun Black like . . . .Mezzotint16 x 12 NFS

Glossary

How Prints Are Made

An original print is a work of graphic art; the general requirements are:1. The artist has made the image in or upon the plate, stone, wood block, a computer, or other material for the purpose of creating a work of graphic art.2. The impression is made directly from the original material by the artist or pursuant to his or her directions.3. The finished print is approved by the artist.

Relief Printing

In relief printing, the artist carves away from a block or metal plate what is not to be printed. The raised surface is then inked and printed onto paper by means of hand pressure, rubbing the paper with a spoon or baren or by using a press. Both hand work and photo-based imagery can be used with this method.

Woodcut: Parts of a wood plank or plywood block are cut away, leaving a design in relief, which is then printed.

Wood Engraving: Similar to woodcut, but the end grain of the block is utilized, enabling the artist to get a much finer line.

Linocuts: Linoleum may be used instead of wood, giving a somewhat similar result.

Relief Etching: A print is made from an acid-etched plate whose top surface has been rolled up with ink and printed, rather than the usual intaglio inking method.

Intaglio Printing

Intaglio is the opposite of relief printing in that the incised lines or textured areas of the plate, and not the raised surface, hold the ink. After the artist has created the image on the plate (usually copper or zinc), ink is forced into the incised lines and textures. The surface is wiped clean, leaving ink only in the recessed lines or areas. The print is made when dampened paper is pressed into these areas, picking up the ink as it goes through the press. Both hand work and photo-based imagery can be used with this method.

Etching: A metal plate is coated with an acid resistant “ground”. The artist removes or scratches away parts of this ground to create the image. The plate is then put into an acid bath and the lines of the design are eaten into the plate. The resist can be a hard ground or a soft ground.

Aquatint: Large tonal areas of the plate are often created with aquatint. The plate is covered with a dusting of acid-resistant rosin or lightly sprayed with enamel. The amount deposited, along with the length of time the plate is etched, determines the final tone.

Engraving: No acid is used here. Instead, the lines are cut into the plate with a tool called a “burin”.

Drypoint: A method similar to engraving; however, a sharp needle is used which creates a burr along the cut line. Ink caught in that burr leaves the characteristically soft, velvety effect.

Mezzotint: A tool is used which raises a texture of burr over the entire plate. A print taken from this plate would be solid black. Lighter areas have to be scraped or burnished away.

Collagraph: The surface is built up by adhering various materials to the plate. Either (or both) relief and intaglio inking may be employed. When printed, the paper will generally be embossed due to the thickness of the materials on the plate.

Lithography

The image is drawn or painted onto a lithographic stone, metal or plastic plate using a greasy or non-water soluble material. The stone or plate is then treated so the image areas are ink-loving (greasy) and the non-image areas are water-loving. During printing, the stone or plate is dampened with water and an oil-based ink is rolled over the surface, depositing ink only on the image areas. Paper is placed on the inked surface and run through a press. Both hand work and photo-based imagery can be used with this method.

Screenprint

The artist prepares a stretched screen (originally silk but now usually polyester) and blocks out the areas not to be printed with glue, cut film, paper, photo-stencil, etc. Ink is then squeezed over the screen, forcing it through the open areas onto the paper, which has been placed beneath the screen. This method is also known as silkscreen and serigraphy. Both hand work and photo-based imagery can be used with this method.

Monotypes & Monoprints

Monotypes are unique prints made by creating an image on a smooth plate or open screen and then transferring the ink to paper, often using a press. The image is sometimes developed by overprinting repeatedly or by adding to the print surface directly.

Monoprints are also unique prints, but include at least one plate that has been treated in any one of the various printmaking techniques, creating a repeatable element. The artist often uses this plate as a base or constant and adds other imagery to create a unique print.

Digital Prints

Digital prints are first-generation prints made directly from a digital file. Digital images can be draw-ings and paintings done by hand using a paint program or collages of imagery from photographs, scanned materials, and other sources, which are manipulated in a photo-editing program, or a com-bination of the two methods. If other media are applied before or after printing, a mixed-media image results which can be either a multiple or a monoprint.

Digital collage: A single image is created by combining images from a variety of sources in a comput-er, where each layer of imagery can be manipulated separately and then combined for output in color or black ink. The computer may be used at any stage to produce printed images from which the artist selects parts to create a pasted collage.

Inkjet print: A continuous-tone image printed with an inkjet printer, which sprays color droplets from tiny nozzles onto a piece of paper or other substrate.

Iris print: An inkjet print printed on an Iris printer, which uses electrostatically sorted droplets of water-based vegetable dyes.

Giclée: A French term that means a spurt of ink and is sometimes used to describe a second-genera-tion Iris print or reproduction.

Limited Editions

A set of identical prints made is called an edition. The edition number (represented as a fraction), title (if any), and signature of the artist usually appear at the bottom margin of each print. The top of the fraction identifies the print within the edition; the bottom of the fraction indicates the total number printed. A small number of additional prints designated as “Artist’s Proof” or A.P. may also be printed.