In “impressions”, you will quickly notice that printmaking embraces a wide variety of approaches for such a seemingly simple term.

Tiffany Hokanson
What Has Been And What Will Be
Paper, Ink, Rust, Wax & Sinew

“These prints map my process and serve as a record of loss and decay. What remains here are the traces and shadows of what had once been. Each scratch and every mark accumulates over time to create an evidence of history.

My installation-based work is left hanging out in the open and is vulnerable. The paper curls and sways; it may tear and bend. The absence of a frame invites the possibility for the viewer to elicit an immediate response by imposing fleeting moments of influence on the work, such as shadow or movement.”

Intaglio
An engraving or incised figure in stone or other hard material depressed below the surface so that an impression from the design yields an image in relief. Printing (as in die stamped and gravure) done from a plate in which the image is sunk below the surface.

Eloise Larson, Sitting Still. Seeing Clearly … I , II & III, Intaglio on paper

Woodcut
A woodcut is a relief printing technique in printmaking. An Artist carves an image into the surface of a block of wood – typically with gouges- leaving the printing parts level with the surface while removing the non-printing parts.

Woodcuts used for Medlinda Plank’s Mountain Goats on Ice

Melinda Plank, Juniper Respite,Woodblock print using 4 plates & 8 colors; Mountain Goats on Ice.Woodblock print using 4 plates & 7 colors; Glimpse of Lake Almanor w/Sierra Fox, Woodblock print using 5 plates & 10 colors

Gordon Dunlap, Ornithological Bird, Woodcut; She done It!, Woodcut; Whoa!, Woodcut

Chine-collé
Chine-collé is a special technique in printmaking, in which the image is transferred to a surface that is bonded to a heavier support in the printing process. One purpose is to allow the printmaker to print on a much more delicate surface, such as Japanese paper or linen, which pulls finer details off the plate.

Yuji Hiratsuka, Nostalgia, Intaglio & Chine-Collé; TB, Intaglio & Chine-Collé; Looking for the Right, Intaglio Monotype

Collagraph (also Collograph)
A collograph refers to a collage of materials glued on to a “printing Plate,” which is a square of cardboard. When glue is dry, it is shellacked or varnished so that it can be painted with acrylics. Paper is then pressed on to the surface to produce a print. Think “collage”.

Pat Satariano,Blossom in Spring,Four Plate Collagraph; Blossom in Spring Plate, Collagraph Plate

Chiharu Sai, Shiso, Collagraph; Jennifer Pentrack, Brown Pelican,Reduction Linocut

Silk Screen or Serigraph
A printmaking technique in which a mesh cloth is stretched over a heavy wooden frame and the design, painted on the screen by tusche or affixed by stencil, is printed by having a squeegee force color through the pores of the material in areas not blocked out by a glue sizing.

Phil Dynan, Lion of Judah, Serigraph, hand finished w/acrylics on muslin; John Sexton Cornejo, Coatlicule’s Nails, Screen Print, Phosphorescent Ink

Kelly Witte,Sea Side Siren,Linocut, Silkscreen & Watercolor; Pineapple, Linocut & Silkscreen; Delightfully Disturbing Dinowhore, Lithograph, Silkscreen, Reductive Relief Linocut & Glitter

Daryl Brooks, Northwestern Totem , Serigraph, hand pulled by the artist; Carol Ponzio, In My Garden,Oil Pulled Print Monotype

Monotype
A technique that generally yields only one good impression from each prepared plate. Monotypes are prized because of their unique textural qualities.They are made by drawing on glass or a plate of smooth metal or stone with a greasy substance such as printer’s ink or oil paint. Then the drawing is pressed by hand onto a sheet of absorbent paper or is printed on an etching press.The pigment remaining on the plate is usually insufficient to make another print.

Natalie Shaw, Cloudscape No. 2, Monotype; Yellow Sonata, Monotype

Joanna Kidd,“What are You Thinking?”, Lithograph & Monoprint

Etching
In traditional pure etching, a metal (usually copper, zinc or steel) plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with a pointed etching needle where the artist wants a line to appear in the finished piece, so exposing the bare metal. The plate is then dipped in a bath of acid. The acid “bites” into the metal where it is exposed, leaving behind lines sunk into the plate, The remaining ground is then cleaned off the plate, The plate is inked all over, and then the ink wiped off the surface, leaving only the ink in the etched lines.

Shunsuke Ando, The Pilgrim II, Etching; First Contact, Etching; The Pilgrim III, Etching

Ernie Wasson, Magnolia Leaf, Foilography Print; Eucalyptus Leaf, Etched Copper Plate Intaglio Print

Best of Show Artist will be invited to participate in 2-person exhibition Spring 2017

The “impressions” exhibition will continue through June 17th. Be sure to stop by to see the entire show and vote for your favorite.

A special thanks to Richter Scale Gallery for their
generous sponsorship for this exhibition!

 

 

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