14th Biennial International Miniature Print Exhibition Catalog

14th Biennial International Miniature Print Exhibition

JUNE 4 — AUGUST 20, 2023

Our mission is to support, preserve, and advance the art of original prints. The Center for Contemporary Printmaking is a nonprofit workshop and gallery recognized by the Internal Revenue Service as a 501(c)(3) organization.

All prints in this exhibition are available for purchase. Direct sales inquiry to info@contemprints.org. Be sure to include the Print Number, artist name and print title to correctly identify your purchase inquiry and a CCP Staff Member will get back to you as soon as possible.

14th Biennial International Miniature Print Exhibition

JUROR’S STATEMENT

Good things come in small packages. This platitude rings true in the Center for Contemporary Printmaking’s 14th Biennial International Miniature Print Competition and Exhibition, which I had the pleasure of jurying this year. Never have I ever been surrounded by over 600 prints in a single room! Choosing the finalists for the exhibition – 217 prints by 170 artists from 16 countries and 25 states – was by far one of the most intense and rigorous processes in which I’ve participated. Its organizational principle – a visual field no larger than 2 x 2 inches – provided a laser-sharp focus as I reviewed and – in many instances, studied with a magnifying glass – the hundreds of prints that arrived from all over the world at this outpost for the medium along the coast of New England. The sheer depth and breadth of techniques represented in this exhibition – from straightforward etching and relief to a mix of everything in between, including even a few digitally-based works –are a testament to the multifarious state of printmaking today.

A closer look at just the 25 prize winners and honorable mentions is a snapshot of our moment in time. Ann Chernow, Veronique Coutant-Godard, Cindi Ford, Allan Greenier, and Pricilla Steele all address identity through their portraits. Whether detailed like Steele’s or more illustrative like Ford’s, their approaches signal a deep sense of respect and consideration for their subjects.

Souleima Basha’s photo-based print depicting two men in a field with their backs to the viewer is a portrait that leaves us with more questions than answers. Animals factor into many of the prints, including those by Viviane De Kosinsky, Kiley Dufek, Holly Hawthorne, Gervasio Robles, and Terri Thoman. These subjects are not only delightful in their nature but also so often tenderly rendered. Tenderness is at the heart of Jen Hamilton’s work “Morphine,” which captures the intimate connection between a young child and their caretaker – perhaps their mother. The illustrative also features prominently in work by Raphael Del Rosario, Sita Moses, Merle Perlmutter, DeAnn Prosia, and Cleo Wilkinson. Each takes us to a different place –whether it be someplace real, as in a cityscape, or someplace imagined, as in a mindscape. Last but not least, abstraction abounds in other prints by Diane Cherr, Tania Chou, Beatrice Del Perugia, Marta Di Bitetti, James Dormer and Maureen Hebert. These artists lean in and out of color and line across their compositions.

Printmaking is powerful. It is all around us. I hope the results of the 14th Biennial International Miniature Print Competition and Exhibition remind us all to stop and take time to look closer, appreciating the great potential of print today.

Dr. Ksenia Nouril

Gallery Director and Curator, The Art Students League of New York

Ksenia Nouril is a New York-based art historian and curator with indepth knowledge of global post-war and contemporary art practices, and has a proven track record in organizing and implementing impactful cross-cultural programs for diverse audiences. Ksenia was the Jensen Bryan Curator at The Print Center in Philadelphia, and is now the Gallery Director and Curator for Exhibitions and Programs for the Art Students League of New York. Ksenia Nouril received her PhD in Art History from Rutgers, The State University of New Jersey, New Brunswick in 2018.

14th Biennial International Miniature Print Exhibition

LIST OF WORKS

All dimensions listed in inches

All prints are for sale. Email info@contemprints.org to inquire.

Erika Adams (251) Canada

Ghost Owl, 2023

Aquatint, Ed. 1/3

1 7/8 x 1 3/4, $50

Christine Aaron (109)

NY, USA

Nightfall, 2021

Monotype

7/8 x 3 7/8, $100

ME, USA

Forgiveness, 2023

Drypoint, Ed. 1/10

2 x 2, $90

Christine Aaron (109)

NY, USA

Wetland, 2021

Monotype

1 x 4, $100

Luis Alfonzo (201)

CT, USA

Tequila Shot, 2023

Etching, Ed. 1/3

2 x 2, $50

Karen Adrienne (65)

Joanna Anos (124) IL, USA

Swift, 2023

Collagraph with chine collé

2 x 2, $45

Souleima Basha (33)

Canada Brothers, 2023

Lithograph with chine collé, Ed. 1/17

2 x 2, $55

Takach Press Award

NY, USA

Untitled VI, 2023

Collagraph monoprint

2 1/4 x 1 3/4, $25

Jean Allemeier Boot (132) MI, USA

Parade of Palms, 2023

Intaglio, Ed. 3/15

2 x 2, $70

Bobi Bosson (264) CA, USA

Nursery, 2023

Linocut, Ed. 1/5

2 x 2, $20

Lionel Bras (107) France

Foggy Village II, 2023

Etching, Ed. 1/10

1 1/2 x 2 5/8, $60

Maguy Berry (96)

Zoe Brothers (228)

NY, USA

Dear Mom, 2023

Etching, Ed. 2/19

1 5/8 x 1 5/8, $30

Angela Buonocore (149)

CT, USA

Butterfly Weed, 2023

Monotype

2 x 2, $100

Mariela Canchari (Maca’N) (244)

France

Wind I, 2023

Intaglio, Ed. 1/2

3 1/8 x 1 1/8, $60

Courtney Caron (134)

CT, USA

Just Kickin’ It, 2023

Etching, Ed. 1/6

1 1/2 x 2 3/4, $90

Jay Caskie (255)

England

High Tide 2, 2023

Wood engraving

Ed. 1/100

2 x 1 7/8, $54

Ann Chernow (57)

CT, USA

Desire, 2021

Lithograph, Ed. 2/12

2 x 1 7/8, $150

Jerry’s Artarama Award

Diane Cherr (78) NY, USA

Hokey Pokey 1, 2023

Collagraph with chine collé and collage

2 x 2, $100

Rosamund Christison

CT, USA

Toucanet, 2023

Etching with hand coloring, AP

1 3/8 x 2 1/8, $100

USA

Connection, 2008 Relief

Diane

(78) NY, USA

Material Girl, 2023

Collagraph with chine collé and collage

2 x 2, $100

Jerry’s Artarama Award

2 x 2, $40

Taiwan

Moonlight Dancing, 2023

Intaglio with chine collé

Ed. 1/6

2 x 2, $60

Speedball Art Award

Dorothy Cochran (70) NJ, USA

Light, 2023

Silk aquatint, Ed. 2/5

4 x 1, $75

Cherr

Tania Chou (218)

(159)

Kat Chudy (238) FL,

Dorothy Cochran (70)

NJ, USA

Mystery, 2023

Silk aquatint, Ed. 1/5

1 7/8 x 2, $75

Caroline Coode (121) England

Green Frog III, 2020

Wood engraving

Ed. 1/10

1 1/4 x 1 3/4, $50

Jane Cooper (47)

NY, USA

Untouched, 2023

Monotype on leaf

1 1/4 x 3, $100

Veronique Coutant-Godard (68) NY, USA

Musician, 2023

Linocut, AP

2 x 1 7/8, $90

McClain’s Printmaking Award

Sylvie Covey (20)

NY, USA

Reflection, 2023

Photopolymer intaglio AP

2 x 2, $75

Lillianne Daigle (95)

Canada

Sunbeam, 2023

Digital print, Ed. 1/4

2 x 2, $80

Geraldine Daniel (3)

France

Jeanne á la Plage, 2022

Photoetching

Ed. 25/90

1 1/2 x 2 1/8, $80

Beatrice del Perugia (7)

CT, USA

Karen’s Boat, 2023

Collagraph with mixed media

2 x 2, $75

Paper Connection Award

Viviane De Kosinsky (42)

VA, USA

Birdwatching, 2023

Etching with hand coloring, Ed. 12/25

2 x 2, $225

Awagami Paper Award

Beatrice del Perugia (7)

CT, USA

Maison Rogue, 2023

Collagraph with mixed media

2 x 2, $75

Viviane De Kosinsky (42)

VA, USA

Canary Coup, 2015

Etching with hand coloring, Ed. 5/40

2 x 2, $145

Raphael Del Rosario (217)

France

Drifting, 2023

Etching, Ed. 3/60

2 x 2, $65

Raphael Del Rosario (217)

France

Sērēnade, 2017

Etching, Ed. 19/50

2 x 2, $65

Anne Desmet (40)

England

Travel Dreams 1: Exploring, 2021

Lithograph with chine collé, Ed. 2/8

3 1/2 x 1, $150

Raphael Del Rosario (217)

France

Watersea Pie, 2022

Etching, Ed. 9/60

1 7/8 x 2, $65

Honorable mention

Magali Devulder (72)

France

Entre-deux, 2023

Drypoint and embossing, Ed. 1/3

1 3/4 x 1 7/8, $100

Sami Dentel (225)

NY, USA

Arthur, 2023

Etching

2 x 2, $30

Marta Di Bitetti (272)

Argentina

Notro 4, 2021

Blind embossing

Ed. 1/4

2 x 1 7/8, $50

Honorable mention

Chloe DiBlassio (144) MI, USA

Fog, 2023

Solarplate, AP

2 x 1 1/2, $25

Gil Dickinson (102) MD, USA

Atractosteus Spatula, 2023

Etching and aquatint Ed. 4/12

7/8 x 3 7/8, $70

Ella Dino (253)

CT, USA

Botanical, 2023

Etching, AP

2 x 1 7/8, $50

Sarah Donovan (39) CT, USA

Nature Prevails, 2023

Linocut, AP

2 1/4 x 1 3/4, $60

CO, USA

B.G.B., 2020

Lithograph, AP

2 x 2, $95

CO, USA

Picnic, 2021

Lithograph, AP

2 x 2, $95

Takach Press Award

James T. Dormer (19)

James T. Dormer (19)

Katharine Draper (111)

CT, USA

Landscape 3, 2023

Monotype

2 1/2 x 1 1/2, $75

Kiley Dufek (155)

WI, USA

Little Cosmonaut, 2023

Etching with chine collé, VE 6/9

2 x 1 7/8, $50

Honorable mention

Carol Dunn (236)

CT, USA

Blue Moon, 2023

Photopolymer intaglio with hand

coloring, VE 1/25

1 3/4 x 2 3/16, $100

Carol Dunn (236)

CT, USA

Watchdog, 2023

Photopolymer intaglio VE 1/25

1 7/8 x 2, $100

Agata DworzakSubocz (254)

Poland

Space - 5840, 2022

Digital print, Ed. 1/10

1 7/8 x 1 7/8, $80

Alyssa Heath Elliot (250)

NY, USA

Child Sleeping 1, 2023

Monotype 2 x 2, $45

Alyssa Heath Elliot (250)

NY, USA

Child Sleeping 2, 2023

Monoprint

2 x 2, $45

Alanna Fagan (190)

CT, USA

Au Marché III, 2023

Silkscreen monotype

2 x 2, $150

Alanna Fagan (190)

CT, USA

Au Marché IV, 2023

Silkscreen monotype

2 x 2, $150

Ann Farrell (50)

NY, USA

In and Out Space - C, 2023

Intaglio and cyanotype AP

1 7/8 x 1 7/8, $80

Benjamin Feldman (249)

MA, USA

Still Life 2, 2023

Engraving

2 x 1 7/8, $75

Carina Ferretti (174)

PA, USA

Little Red Barn, 2023

Relief

2 x 2, $20

Joshua Shane Flores (237) FL, USA

Iota, 2021

Linocut

2 x 2, $40

Lisa Flynn (43) MA, USA

Journey Sticks II, 2022

Woodcut monoprint

2 x 2, $75

Cindi Ford (60) MI, USA

Body, 2023

Mokuhanga, Ed. 1/2

1 7/8 x 2, $65 2nd Prize

Cindi Ford (60) MI, USA

Head, 2023

Mokuhanga, Ed. 1/2

2 x 2, $65

2nd Prize

Cindi Ford (60) MI, USA

Legs, 2023

Mokuhanga, Ed. 1/2

2 x 2, $65

2nd Prize

Kevin Ford (258) CT, USA

Oak, 2023

Linocut, Ed. 1/3

2 1/2 x 1 9/16, $50

Ron Fundingsland (240)

CO, USA

Upshot, 2023

Intaglio, Ed. 1/10

2 x 2, $65

NC, USA

Portals, 2023

Mezzotint, Ed. 1/40

2 1/8 x 7/8, $50

Jeanine

CT, USA

Joie, 2023

Monotype 2 x 2, $50

Jeanine

CT, USA

Rising Sun, 2023

Monotype 2 x 2, $50

SC, USA Eye, 2023

Relief 2 x 2, $50

Allan

CT, USA

Reprehensible, 2023

Sugarlift etching, Ed. 1/8

2 x 2, $100

Jerry’s Artarama Award

Donald Furst (214)

Giddings (118)

Giddings (118)

Theresa Glazer (141)

Greenier (135)

Allan Greenier (135)

CT, USA

Untitled 1, 2023

Screenprint

1 7/8 x 1 7/8, $75

Faustine Gruninger (184)

Canada

Mise en Abine de l’Asclepiade, 2023

Linocut, Ed. 1/5

2 5/8 x 1 1/2, $60

Theresa Haberkorn (248)

CO, USA

Lights On, 2023

Tetrapak print, Ed. 2/15

2 1/4 x 1 3/4, $80

Jen Hamilton (80)

Canada

Brothers II, 2023

Monotype with stitching

2 x 2, $90

Jen Hamilton (80)

Canada

Morphine, 2023

Monoprint with stitching, VE 1/8

2 x 2, $90

Honorable mention

Paper Connection Award

Holly Hawthorn (104)

CT, USA

Hugs, 2023

Drypoint

2 x 2, $50

Jerry’s Artarama Award

Maureen Hebert (28)

MA, USA

Pollen, 2023

Monotype with felt and thread

3 1/2 x 1, $125

Renaissance Graphic Arts Award

Jack H. Hellaby (223) FL, USA

Lombard Street, SF, 2023

Monoprint with silver leaf

5 7/8 x 5/8, $100

Maureen Hebert (28)

MA, USA

Propel, 2023

Monotype with felt and thread

3 1/2 x 1, $125

Jack H. Hellaby (223)

FL, USA

Tyrannosaurus, 2023

Monoprint with silver leaf

5 7/8 x 5/8, $100

Allison Hillman (209)

NJ, USA

Sleeping Pup, 2023

Linocut, Ed. 1/5

2 x 2, $50

L JA Hkam (46)

NY, USA

Breaktime, 2023

Intaglio, Ed. 1/20

2 x 2, $50

Sophia Hoodis (103)

TX, USA

Bathroom, 2023

Screenprint, Ed. 3/20

2 x 1 3/4, $50

William Howard (192)

IL, USA

2 Plus 1, 2023

Lithograph

2 x 2, $45

Ying-Ying Hsieh (252)

Taiwan

Summer Wing Dress, 2023

Intaglio, Ed. 1/6

2 x 1 7/8, $70

Vanessa Huang (211)

Taiwan

Together, 2022

Mezzotint, AP

1 3/4 x 1 3/4, $100

Jeff Huckeby (199)

TX, USA

Flare #4, 2023

Monotype

2 x 2, $30

Eeva Huotori (271)

Finland

Play With Me?, 2023

Mezzotint and drypoint Ed. 1/40

1 x 3 7/8, $50

Jeong Ju Hyaug (76)

Korea

Ecclesiastes 2:11, 2023

Etching, Ed. 15/50

1 7/8 x 1 7/8, $200

Nathaniel Infante (234)

NY, USA

Wooly Bear, 2023

Etching with chine collé, Ed. 1/20

1 x 3 1/8, $30

Yukio Ito (8) Japan

Twinkle Links, 2022

Mezzotint, Ed. 2/8

2 x 2, $70

Martha Ives (191) NY, USA

The Reader, 2023

White line woodcut, AP

1 11/16 x 2 3/16, $90

Martha Ives (191) NY, USA

The Writer, 2023

White line woodcut

Ed. 1/15

2 3/16 x 1 11/16, $90

Andrew Jagniecki (69) WI, USA

The Appearance, 2023

Woodcut and engraving, AP

1 7/8 x 2, $100

Andrew Jagniecki (69) WI, USA

Swing, 2023

Linocut, Ed. 1/11

2 3/8 x 1 5/8, $100

McKelvie Jensen (224)

NY, USA

He’s Nervous, 2023

Etching

7/8 x 7/8, $30

Tania Jimenez (193)

MA, USA

B-Roll, 2023

Relief, Ed. 1/2

1 7/8 x 2, $35

Bonnie Johnson (31)

CT, USA

Forget-Me-Not, 2023

Digital print, Ed. 1/10 2 x 2, $50

Alison Jones (129)

NY, USA

Penny Lane and the Alley Cat, 2023

Intaglio with chine collé Ed. 1/15 2 x 2, $100

Claudia Kammacher (41) Switzerland

Lines, 2023

Monoprint 2 x 2, $30

Claudia Kammacher (41) Switzerland

Two Circles, 2023

Monoprint 2 x 2, $30

Selina Karim (246)

CO, USA

Symbiosis 2, 2023

Etching, AP 2 x 2, $125

CT, USA

Fracture, 2023

Relief

2 1/2 x 1 1/2, $50

Japan

The Entrance of Hell, 2023

Etching with chine collé, Ed. 2/3

2 x 2, $25

Finland

Lost II, 2023

Photopolymer gravure Ed. 1/40

1 7/8 x 1 7/8, $50

Finland

Lost III, 2023

Photopolymer gravure Ed. 1/40

1 7/8 x 1 7/8, $50

Canada

Pixie, 2023

Lithograph with chine collé, Ed. 1/6

4 x 1, $115

NY, USA

Summer, 2023

Intaglio, Ed. 2/12

1 7/8 x 1 7/8, $65

Gali Katz (26)

Aya Kikkawa (265)

Janne Laine (89)

Janne Laine (89)

Katherine A. Laird (108)

Lynne Lederman (49)

Channing Lefebvre (16)

NY, USA

Zigzag, 2023

Drypoint with hand

coloring and collage

1 3/4 x 2 1/4, $125

Suzanne Lewis (188)

RI, USA

Rabbit, 2023

Drypoint, Ed. 1/3

2 x 2, $50

Shupin Li (71)

England

Pearl II, 2023

Lithograph, Ed. 1/6

2 x 2, $80

Cricket Liebermann (196)

MA, USA

Through the Slats, 2023

Relief, Ed. 1/2

2 x 2, $80

Mary Louise Long (38)

CT, USA

Balancing Act, 2023

Monotype 2 x 2, $50

Chris Long (64)

England

Untitled 1, 2023

Collagraph

2 x 2, $40

Chris Long (64)

England

Untitled 2, 2023

Collagraph 2 x 2, $40

Judith Long (81)

ME, USA

Aslant, 2023

Intaglio, Ed. 1/7

1 9/16 x 2 7/16, $80

Judith Long (81)

ME, USA

Dripping TwilightEvening, 2023

Monotype with chine collé, Ed. 1/7 2 x 2, $80

Caroline Sheridan Loose (136)

MA, USA

Solemn Evening 1, 2023

Drypoint with chine collé

1 1/2 x 2 1/2, $75

Mariia Machenko (100)

MD, USA

This is not a rose!, 2023

Lithograph with chine collé, VE 3

2 x 2, $50

Bernadette

Ireland

Azure, 2023

Screenprint

1 5/8 x 2 3/8, $80

Madden (84)

Ireland

Blue Dusk, 2021

Screenprint, VE. 4/7

1 5/8 x 2 3/8, $80

CT, USA

Clotho, 2023

Intaglio, Ed. 1/20

2 x 2, $30

CT, USA

A Good Day, 2023

Drypoint, Ed. 1/3

2 x 2, $80

NC, USA

No Adults, 2023

Intaglio, Ed. 1/2

3 7/8 x 1, $125

TX, USA

Trois Femmes, 2023

Drypoint with chine collé, Ed. 1/5

1 x 4, $60

KY, USA

Adirondack Mountains, 2023

Woodcut

2 x 2, $50

Laura C. Miller (127)

Toni Miraldi (113)

Joshua Masters (85)

Bernadette Madden (84)

Eileen McClellan (45)

Cynthia Woolever

Molinar (32)

Cynthia Woolever

Molinari (32)

KY, USA

Party for Spring, 2023

Monotype

2 x 2, $50

Tanlynn Morgan (263)

CA, USA

Traffic Jam, 2023

Etching, Ed. 1/2

2 x 2, $15

Sita Moses (53)

NH, USA

The Sails Are Black, 2022

Etching and embossing, Ed. 9/10

1 1/2 x 1, $45

Open Press Project Award

David Moyer (13)

PA, USA

Folly Fly, 2022

Wood engraving

Ed. 5/50

2 1/8 x 1 1/2, $25

James Mullen (25)

NY, USA

Sunflower, 2022

Engraving with chine collé, Ed. 4/5

2 x 1 7/8, $50

Yoshiaki Murakami (18)

Japan

Haiku Box 1, 2023

Lithograph with hand coloring, Ed. 1/10

2 x 1 7/8, $150

Janis Murouskis/Muris (269)

Latvia

Reverie I, 2023

Screenprint, Ed. 2/10 2 x 2, $100

Janis Murouskis/Muris (269)

Latvia

Reverie II, 2023

Screenprint, Ed. 2/10

2 x 2, $100

NY, USA

Hunt, 2022

Intaglio, AP

1 7/8 x 2, $50

Meghan O’Connor (139) SC, USA

Red Wrastlin’, 2023

Lithograph

1 7/8 x 2, $50

John O’Donnell (59) CT, USA

Ruin Repair, 2023

Intaglio with chine collé

2 1/8 x 1 7/8, $50

Japan

Mochizuki, 2023

Intaglio, Ed. 1/10

1 7/8 x 1 7/8, $60

Stephanie Navon (67)

Chiaki Ogawa (221)

Chiaki

Japan

Utsurou, 2023

Intaglio, Ed. 1/10

1 7/8 x 1 7/8, $60

Kate O’Neal (166) DE, USA Bananas, 2023

Relief, Ed. 1/3

1 7/8 x 1 7/8, $20

USA

Room with Book, 2023

Tetrapak and linocut

2 x 1 7/8, $25

Donna

VA, USA

Room with Shirts, 2023

Tetrapak and linocut

1 7/8 x 1 7/8, $25

Gina

NY, USA

Blossom, 2023

Monoprint

2 x 2, $80

NY, USA

Red Dawn, 2023

Monoprint

2 x 2, $80

Ogawa (221)

Padian (87)

Palmer (202)

Donna Padian (87) VA,

Gina Palmer (202)

Nicole Parker (204) MD, USA

Fuji, 2022

Aquatint, Ed. 3/20

2 x 2, $100

Grace Pastore (36) WA, USA

Virgil’s Egg, 2023

Linocut, Ed. 1/25

1 7/8 x 2, $40

Merle Perlmutter (24)

NY, USA

Small Shell, 2023

Intaglio, Ed. 14/200

1 3/4 x 2 3/4, $140

Merle Perlmutter (24)

NY, USA

S.E.T.I., 2023

Intaglio, AP

2 x 2, $95 1st prize

Karen Peters (245)

MN, USA

Backed In, 2023

Relief, Ed. 4/14

2 x 2, $75

Karen Peters (245)

MN, USA

So Much, 2023

Relief, Ed. 4/12

2 x 2, $75

Sweden

Boundary Line, 2023

Etching, Ed. 1/10

1 7/8 x 2, $70

Sweden

Estuary, 2023

Etching, Ed. 1/10

1 7/8 x 2, $70

Kitchen Outlet, 2023

Relief

1 7/8 x 2, $60

Johnny

USA

Minuscolo Mondo #3, 2023

Intaglio

2 x 2, $70

USA

Minuscolo Mondo #7, 2023

Intaglio

2 x 2, $70

Belgium

No More War 2, 2023

Digital print, Ed. 1/12

2 x 2, $40

Kathie Pettersson (79)

Kathie Pettersson (79)

Plastini (198) CO,

Marian Picard (197) MA, USA

Johnny Plastini (198) CO,

Henry Pouillon (10)

Morgan Price (98) IL, USA

everybody knows, 2023

Lithograph with chine collé, Ed. 1/5

2 x 1 3/4, $35

DeAnn Prosia (93) NJ, USA

Industry, 2022

Etching, Ed. 2/25

1 3/4 x 1 3/4, $90 3rd Prize

DeAnn Prosia (93)

NJ, USA

Montmartre, Paris, 2001

Etching, Ed. 39/75

1 3/4 x 1 3/4, $90

Stephanie Regen (120) NJ, USA

Fucshia Flowers Can Only Grow in a Blue Pot, 2023

Transfer print with hand coloring and leaf

2 x 2, $100

Melanie Rice (61)

CT, USA

Sawtooth Star Variation, 2023

Monoprint

1 7/8 x 2, $75

Ellen Roberts (247)

ME, USA

Spring 23, 2023

Woodcut collage

1 7/8 x 2, $95

Lilia Robinowitz (58) NY, USA

Hung Out To Dry, 2023

Relief with chine collé

1 x 4, $50

Lilia Robinowitz (58)

NY, USA

Untitled, 2023

Relief, VE 1/7

1 5/8 x 2 3/8, $50

Marie-Michele

Robitaille (185)

Canada

Rimouski, 2023

Relief with chine collé

Ed. 1/5

2 1/2 x 1 1/2, $60

Gervasio Robles (110)

South Africa

Beach Day, 2022

Wood engraving

Ed. 1/40

2 x 2, $30

Honorable mention

Gervasio Robles (110)

South Africa

Holidays, 2023

Wood engraving

Ed. 1/40

1 1/2 x 2 1/2, $30

Briar Rosales (145)

MA, USA

Ariel View, 2023

Monotype

2 x 2, $75

Jiho Ryu (74)

Korea

Life Circle, 2023

Etching and collagraph

Ed. 4/7

1 7/8 x 2 1/4, $100

Deborah Sacks (14)

CT, USA

Classical, 2022

Digital print

2 3/8 x 1 5/8, $25

Deborah Sacks (14)

CT, USA

Full Moon, 2018

Digital print

2 x 2, $25

Amy Sands (116)

MN, USA

Constellation LXXII, 2021

Screenprint with cut paper, bead and hand coloring

2 x 2, $100

Janet Sang (27)

England

Detour 1, 2023

Photopolymer intaglio Ed. 1/5

2 x 2, $60

Janet Sang (27)

England

Detour 3, 2023

Photopolymer intaglio Ed. 1/5

2 x 1 7/8, $60

Ann Schaumburger (17) NY, USA

Red House, 2023

Pochoir, AP

2 x 2, $100

Janet Yagoda Shagam (83) NM, USA

Windy, 2023

Drypoint, Ed. 1/5

2 1/2 x 1 1/2, $50

Lee S. Seinfeld (34)

CT, USA #2, 2023

Linocut, Ed. 1/7

2 x 2, $75

Wendy Shalen (37)

CT, USA

Choices, 2023

Drypoint, AP 2 x 2, $120

Janet Yagoda

(83) NM, USA

Chair, 2023

Drypoint, Ed. 1/5

2 1/2 x 1 1/2, $50

Wendy Shalen (37)

CT, USA

Satyr, 2023

Drypoint, AP 2 x 2, $120

Shagam

Christopher Shore (106) NY, USA

Vessel I, 2023

Tetrapak print, Ed. 2/8

1 3/4 x 1 13/16, $75

Christopher Shore (106) NY, USA

Water Tiger (Year of the Tiger), 2022

Intaglio, Ed. 2/22

1 11/16 x 2 5/16, $60

Vincent Smets (94) Belgium

KDS 14, 2023

Screenprint, Ed. 4/6

1 7/8 x 2, $55

Sigrid Sperzel (35) NY, USA

Metamorphosis, 2023

Linocut and intaglio

2 1/2 x 1 1/2, $80

Ezekiel Stacey (117) CA, USA

Citrus, 2023

Relief, Ed. 1/7

2 x 2, $100

Ezekiel Stacey (117) CA, USA

Fruitful, 2023

Relief, Ed. 1/7

1 7/8 x 2, $100

Priscilla Steele (82)

IA, USA

Bus Lady, 2023

Intaglio with chine collé

Ed. 3/50

2 3/8 x 1 5/8, $68 Speedball Art Award

Roger Sutcliffe (6)

Canada

Blue Mood, 2023

Etching, Ed. 1/8

1 7/8 x 2, $40

Margot Stroop (257)

WA, USA

Spring, 2023

Intaglio, AP

2 x 1 7/8, $100

Roger Sutcliffe (6) Canada

Feeling Down, 2023

Etching, Ed. 1/8

1 7/8 x 2, $40

Alexandra Rose

Sullivan (150)

MA, USA

Fantail, 2023

Monotype 2 x 2, $100

Valerie Syposz (12)

CA, USA

Height, 2023

Lithograph with chine collé, Ed. 1/8

2 3/8 x 1 1/4, $80

Valerie

CA, USA

Hollow, 2023

Lithograph with chine collé, Ed. 1/9

2 1/4 x 1 3/4, $80

MA, USA Axis, 2023

Etching, Ed. 1/4

1 7/8 x 2, $100

Japan

Rias Coast-f, 2023

Lithograph

2 3/4 x 1 3/8, $100

Terri

TX, USA

Year of the Monkey, 2017

Relief engraving

Ed. 63/100

2 x 2, $50

McClain’s Printmaking Award

NY, USA

Icarusa, 2023

Linocut, Ed. 3/15

2 x 2, $30

Japan

Black Cat (R), 2023

Collagraph, Ed. 1/3

2 x 2, $70

Thoman (30)

Madelyn Thompson (230)

Yoshihiro Tsuji (274)

Elias Andres Taborda (143)

Syposz (12)

Akito Tanimura (29)

Heather Urness (273)

Canada

I (vacant), 2023

Solarplate intaglio with chine collé

2 1/2 x 1 1/2, $95

Terry Vatrt (48)

Canada

abiding, 2023

Intaglio collage

1 11/16 x 2 1/8, $75

CT, USA

Tangled Beauty, 2023

Monotype 2 x 2, $50

Melissa WagnerLawler (158)

WI, USA

Untitled, 2023

Letterpress and leaf

Ed. 1/15

1 1/2 x 2 5/8, $75

Pamela

NY, USA

Frond, 2023

Monoprint

1 x 4, $85

NY, USA

Harbinger, 2023

Monotype

2 x 2, $90

Almudena Fernandez Vicens (125)

Wallace (130)

Pamela Wallace (130)

Kefan Wang (101) MD, USA

Untitled, 2023

Etching and aquatint with chine collé, AP

2 x 1 7/8, $75

Annie Wassman (222) MI, USA

Projection #8, 2023

Screenprint and digital print

2 x 2, $65

Willow Wells (243) FL, USA

Pillars, 2023

Etching, Ed. 1/5

1 3/8 x 2 1/8, $95

Cleo Wilkinson (9) Australia

Teacup, 2021

Mezzotint, Ed. 2/40

2 x 2, $120

Gamblin Artists Colors Award

Jing Jing Yang (187)

RI, USA

The Forgotten River, 2022

Intaglio, Ed. 5/10

2 x 2, $40

Jing Jing Yang (187)

RI, USA

Our Orbits Don’t Touch, 2023

Engraving with chine collé, Ed. 1/10

1 x 4, $50

Yung-Chih Yeh (219)

Taiwan

Crush, 2023

Linocut, Ed. 1/8

2 x 2, $60

Oh Seung Yeon (73)

Korea

My, 2023

Aquatint with chine collé, Ed. 4/5

1 7/8 x 1 7/8, $100

Angela Zammarelli (90)

MA, USA

Invite, 2023

Monoprint

2 x 2, $40

Zigi Zhang (235)

RI, USA

Birth of End, 2022

Intaglio, Ed. 1/4

2 x 1 7/8, $80

Leo Zhao (112)

RI, USA

The White Oak, 2023

Photogravure, Ed. 1/7

2 x 2, $85

Mia Zhu (212)

RI, USA

Intangible Memory, 2022

Intaglio with chine collé

Ed. 1/3

1 3/4 x 2 1/4, $20

LIST OF AWARD WINNERS

FIRST Prize: Merle Perlmutter – NY, USA

SECOND Prize: Cindi Ford – MI, USA

THIRD Prize: DeAnn Prosia – NJ, USA

Awagami Paper Award: Viviane De Kosinsky – VA, USA

Gamblin Artists Colors Award: Cleo Wilkinson – Australia

McClain’s Printmaking Award: Veronique Coutant-Godard – NY, USA

McClain’s Printmaking Award: Terri Thoman – TX, USA

Open Press Project Award: Sita Moses – NH, USA

Jerry’s Artarama Award: Ann Chernow – CT, USA

Jerry’s Artarama Award: Diane Cherr – NY, USA

Jerry’s Artarama Award: Allan Greenier – CT, USA

Jerry’s Artarama Award: Holly Hawthorn – CT, USA

Paper Connection Award: Beatrice del Perugia – CT, USA

Paper Connection Award & Honorable Mention: Jen Hamilton – Canada

Renaissance Graphic Arts Award: Maureen Hebert – MA, USA

Speedball Art Award: Priscilla Steele – IA, USA

Speedball Art Award: Tania Chou – Taiwan

Takach Press Award: Souleima Basha – Canada

Takach Press Award: James T Dormer – CO, USA

HONORABLE MENTIONS:

Raphael Del Rosario – France

Marta Di Bitetti – Argentina

Kiley Dufek – WI, USA

Gervasio Robles – South Africa

INDEX OF ARTISTS

ARGENTINA

Marta Di Bitetti

AUSTRALIA

Cleo Wilkinson

BELGIUM

Henry Pouillon

Vincent Smets

CANADA

Erika Adams

Souleima Basha

Lillianne Daigle

Faustine Gruninger

Jen Hamilton

Katherine A. Laird

Marie-Michele Robitaille

Roger Sutcliffe

Heather Urness

Terry Vatrt

ENGLAND

Kate O’Neal

Jay Caskie

Caroline Coode

Anne Desmet

Shupin Li Li

Chris Long

Janet Sang

FINLAND

Eeva Huotori

Janne Laine

FRANCE

Lionel Bras

Mariela Canchari (Maca’N)

Geraldine Daniel

Raphael Del Rosario

Magali Devulder

IRELAND

Bernadette Madden

JAPAN

Yukio Ito

Aya Kikkawa

Yoshiaki Murakami

Chiaki Ogawa

Akito Tanimura

Yoshihiro Tsuji

KOREA

Jeong Ju Hyaug

Jiho Ryu

Oh Seung Yeon

LATVIA

Janis Murouskis/Muris

POLAND

Agata Dworzak-Subocz

SOUTH AFRICA

Gervasio Robles

SWEDEN

Kathie Pettersson

SWITZERLAND

Claudia Kammacher

TAIWAN

Tania Chou

Ying-Ying Hsieh

Vanessa Huang

Yung-Chih Yeh

California, USA

Bobi Bosson

Tanlynn Morgan

Ezekiel Stacey

Valerie Syposz

Colorado, USA

James T Dormer

Ron Fundingsland

Theresa Haberkorn

Selina Karim

Johnny Plastini

Connecticut, USA

Luis Alfonzo

Angela Buonocore

Courtney Caron

Ann Chernow

Rosamund Christison

Beatrice del Perugia

Ella Dino

Sarah Donovan

Katharine Draper

Carol Dunn

Alanna Fagan

Almudena Fernandez Vicens

Kevin Ford

Jeanine Giddings

Allan Greenier

Holly Hawthorn

Bonnie Johnson

Gali Katz

Mary Louis Long

Laura C. Miller

Toni Miraldi

John O’Donnell

Melanie Rice

Deborah Sacks

Lee S. Seinfeld

Wendy Shalen

Deleware, USA

Kate O’Neal

Florida, USA

Kat Chudy

Joshua Shane Flores

Jack H. Hellaby

Willow Wells

Iowa, USA

Priscilla Steele

Illinoise, USA

Joanna Anos

William Howard

Morgan Price

Kentucky, USA

Cynthia Woolever Molinari

Massachusetts, USA

Elias Andres Taborda

Benjamin Feldman

Lisa Flynn

Maureen Hebert

Tania Jimenez

Cricket Liebermann

Marian Picard

Briar Rosales

Caroline Sheridan Loose

Alexandra Rose Sullivan

Angela Zammarelli

Maryland, USA

Gil Dickinson

Mariia Machenko

Nicole Parker

Kefan Wang

Maine, USA

Karen Adrienne

Judith Long

Ellen Roberts

Michigan, USA

Jean Allemeier Boot

Chloe DiBlassio

Cindi Ford

Annie Wassmann

Minnesota, USA

Karen Peters

Amy Sands

North Carolina, USA

Donald Furst

Joshua Masters

New Hampshire, USA

Sita Moses

New Jersey, USA

Dorothy Cochran

Allison Hillman

DeAnn Prosia

Stephanie Regen

New Mexico, USA

Janet Yagoda Shagam

New York, USA

Christine Aaron

Maguy Berry

Zoe Brothers

Diane Cherr

Jane Cooper

Veronique Coutant-Godard

Sylvie Covey

Sami Dentel

Ann Farrell

Alyssa Heath Elliot

L JA Hkam

Nathaniel Infante

Martha Ives

McKelvie Jensen

Alison Jones

Lynne Lederman

Channing Lefebvre

James Mullen

Stephanie Navon

Gina Palmer

Merle Perlmutter

Lilia Robinowitz

Ann Schaumburger

Christopher Shore

Sigrid Sperzel

Madelyn Thompson

Pamela Wallace

Pennsylvania, USA

Carina Ferretti

David Moyer

Rhode Island, USA

Suzanne Lewis

Jing Jing Yang

Zigi Zhang

Leo Zhao

Mia Zhu

South Carolina, USA

Theresa Glazer

Meghan O’Connor

Texas, USA

Sophia Hoodis

Jeff Huckeby

Eileen McClellan

Terri Thoman

Virginia, USA

Viviane De Kosinsky

Donna Padian

Washingotn, USA

Grace Pastore

Margot Stroop

Wisconsin, USA

Kiley Dufek

Andrew Jagniecki

Melissa Wagner-Lawler

GLOSSARY OF PRINTMAKING TERMS

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.

WHAT IS A HANDMADE PRINT?

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. A digital print is made on a computer using the computer to create a piece of artwork.

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.

A hand made print is not a finished piece of artwork that is copied and printed by mechanical means. 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.

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 (ferric chloride or 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

DRYPOINT: 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: 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: Powdered rosin is sifted evenly onto a clean polished metal plate and is then heated on a hot plate to melt the rosin 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.

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 completely 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: A printmaking process in which 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.

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 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 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.

COLLAGRAPH: 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 built from 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 the plate can later be cleaned. Then the plate is inked with one or more colors using either water based inks 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 collagraph is printed on heavy prepared paper using no ink. When displayed with appropriate 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, letterpress prints are recognizable for their embossed printed forms.

LITHOGRAPHY: Printmaking based off of the principal that 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 based ink adheres only to the design area while rejected by the wet areas then 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-based 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-based 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-based 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 can be used as a substitute but must be modified. 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, after which 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 dimensions.

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 stencil 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, accurate 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, thenthe 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-based or oil-based 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. Objects such as feathers, lace, string, etc. can be placed on the plate; ink on the plate can be manipulated with fingers, Q-tips, brushes, etc. Ink applied too thick will slide off in printing and if too thin, will dry out and not print. The plate is placed on an etching press and the dampened paper placed 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 ink, 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.

ATTRIBUTION

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

ABOUT CCP

The 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 offered 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 Miniature Print International 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 community and the tri-state area.

City of Norwalk, CT | Cultural Aliance of Fairfield County

Connecticut Art Trail | Shanley Family Foundation

Awagami Factoryl | Paper Connection International

Gamblin Artist’s Colors | Renaissance Graphic Arts

OpenPress Project | Jerry’s Artarama

Speedball | McClain’s Printmaking Supplies

Takach Press