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Exchange 75

Coordinator: Julio Rodriguez

Images scanned by Wanda Hemmings (Thank you)!

  • Technique challenge: None
  • Theme: OPEN
  • Paper size: Chuban (7.5 X 10 inches – 19 X 25.5 cm)
  • Image size: Any size to fit paper (any orientation)
  • Paper type: No restriction
  • Drop-out deadline: December 31, 2017 If you must drop out਍ഀ of the exchange, please do so as early as possible in order to give people on the waiting list time to complete and submit their prints.
  • Delivery deadline for finished prints: January 31, 2018

Chris Blank, Arlington, TX USA
Dragon Spring

7.5 x 10 in, linoleum, Speedball on paper, edition 45.

Katharina Bossmann, Manhattan, KS USA
Moved On

7.5 x 10 in, birch plywood, Hanco oil based litho with transparent base on Rives BFK, edition 31.

Monica Bright, Star, ID USA
Salient Refuge

7.4 x 10 in, linoleum, Daniel Smith water soluble on Stonehenge, edition 31. I seem to be going through a long bird phase. This image is pa rt of an ongoing series that explores the desire (my need) for freedom conflicting with the desire for safety. How does on balance those two opposing, but fierce, desires? Does satisfying one negate the other? I know I don’t know. The image was printed with some of the last Dan Smith Ink I have on Stonehenge paper. *insert crying face*. This is the last of my Stonehenge as well, but I’m happy about that as I found a bright white printmaking paper I like better. See … even that is dichotomous! *sigh*

Barbara Carr, Salisbury, NH USA

10 x 7.5 in, shina plywood, Graphic Chemical on Rives Lightweight, edition open. Yoda lives at a B & Bin western Massachusetts, where I stayed while attending a painting workshop. He acted tough, but was really a

Diane Cutter, Corrales, NM USA

10 x 7.5 in, linoleum, Speedball Professional Relief Ink (super graphic black) on mix of Arches 88 and whatever I had in my drawer, edition 31. I used Speedball professional ink because I had been in a test group last year and really liked it. Ever since Daniel Smith stopped making printmaking inks, I’ve been on a quest to find something I like as well. Retrato is a self-portrait, taking a drawing I did in my late 30’s and resizing it down to simpler lines

Abel Dewitz, Germany
Saou (a little village in the South of France)

chuban in, three shina plywood, sumi and phtalo blue on Awagami shiramine, edition 40. The process is mokuhanga. My blog is (text mostly in English).

Maria Arango Diener, Las Vegas, NV USA
Nature’s Peace

10 x 7 in, endgrain maple, Gamblin Portland intense black on Zerkall book smooth, edition 100. Nature’s peace will flow into you as sunshine flows into trees” (John Muir). One of my favorite walks up the mountain, always sunny, always see deer, sometimes wild horses sunning themselves in the meadows. I enjoy these so much more these days.

Gillyin Gatto, Machias, ME USA
Lulu’s Flying Cheetah

7.5 x 10 in, linoleum, Portland intense black on Cheetah yellow, edition open. This very odd (for me) image is the result of attempting to fulfill a wish for my granddaughter, who saw an animated film that had a flying Jaguar. However Lulu is obsessed with Cheetahs- I did my best …

Bea Gold, Encinitas, CA USA
Zavi 2

10 x 7.5 in, one shina plywood block, Akua on nichiguchi, edition 50. 2nd in White line portrait series. I am doing a demonstration of the method for the San Guigieto Art Guild of my way to do white line prints. I am enjoying the process but it is very time consuming.

Wanda Hemmings, Cambridgeshire, UK

10 x 7.5 in, two linoleum blocks, Akua on washi, edition 32. I found an image I loved in the British Museum\’s collection of Japanese Woodblock prints of the actor Ebizo performing in a play in 1796 it has wonderful graphic elements that worked well as a two colour print. I experimented with different ways of printing but wound up with a metal spoon.

George Jarvis, Akita, Japan
草地 にて (Souchinite = In the Meadow)

25.5 x 19 cm, Matsumura shina plywood, Golden OPEN acrylic black on Idewashi kozo, edition 60. Printed with a baren.

Martha Knox, Philadelphia, PA USA

10 x 7.5 in, plywood, oil-based block printing ink and watercolors on Arches 140 lbs cold press, edition 32. “Chaban” is the name of our newly adopted Australian Shepherd, depicted in this print. He was named by his former owners, who moved to Ireland and couldn’t take him with them. It means “shepherd” in Turkish.

Therese Krupp, Minneapolis, MN USA
Over Coffee…

7.25 x 9.25 in, linoleum, black oil and water based colors on screen printing paper, edition 38. The original image came from the movie “”Weeds”” I drew it out the moment they talked about coffee, and then did a blog. # 188 at collecting later I talked about making this print out of the image in# 196. I started with a linoleum cut and then added color with screen­
printing and colored pencils. Enjoy.

Brad Ladwig, Honolulu, HA USA
Still Life – Bananas and Coffee

10 x 7.5 in, five shina plywood blocks, watercolors and bokuju on Shin Torinoko cream, edition 40. till struggling with even color in {relatively) large areas. After quite a few years {and halfway through this printing) with an entry level white string cord baren, I finally upgraded to a Murasaki baren {by Goto-san). It’s taught me to really appreciate the difference in quality and capabilities of this new tool. Running out of excuses, have to step up my game.

Clive Lewis, Portland, OR USA

10 x 7.5 in, , on paper, edition 38.

Theresa Martin, Lawrence, KS USA
Hans’ Hat

10 x 7.5 in, linoleum, Gamblin oil-based relief ink on Stonehenge, edition 31.

Barbara Mason, Hillsboro, OR USA
Sauvie’s Island

8 x 10 in, six woodblocks, waterbased mokuhanga on Iwano handmade paper, edition 31. The more we learn the less we seem to know … it has taken me years to be where I am and still not very far

August Mezzetta, Venice, FL USA
Heron Feeding

10 x 7.5 in, pine, watercolor on washi, edition 31. White line technique

Achim Nicklis, Seattle, WA USA
Bascularity in Ballard

10 x 7.5 in, Clear-kut printing block, Daniel Smith water soluble on Strathmore, edition 35.

Julio Rodriguez, Skokie, IL USA
Deco Lady

10 x 7.5 in, linoleum, Blick’s water soluble black on Rives Heavy – White, edition 35. Before I got into Japanese mokuhanga my first love were the
“”black & white”” woodcuts of Fritz Eichenberg. After doing several prints using traditional Japanese techniques it felt good to bring out my old ink rollers and go with a different printing technique

Lindsay Schwartz, Portland, OR USA

7.5 x 10 in, linoleum, Speedball Professional water soluble ink on various, edition 31.

Joseph Taylor, Evanston, IL USA
What’s New…

10 x 7.5 in, cherry plywood, Franklin black and stand oil on sumii-e paper, edition open. artist is Joe Taylor

Lisa Toth, Chester, NY USA

9.5 x 7.25 in, , on paper, edition 35.

Frank Trueba, Felton, CA USA
Schrodinger’s Koi

10 x 7.5 in, , on paper

Anne van Oppen, Southern CA USA
Rise n Shine!

10 x 7.5 in, linoleum, Caligo Safe Wash & Charbonnel Aqua Wash on Fabriano Rosaspina, edition 32. Reduction cut.

Jenn White, Victoria, Australia
untitled (wood engraving)

25 x 19 cm, unknown Balinese wood, Graphic oil-based on Somerset Velvet, edition 34. while since my last wood engraving and a learner even then with one scorper to my name. The block is one of a set of wooden drink coasters – slices of a tree/branch – bought during a trip to Bali, specifically to try with printmaking. A bit dodgy to work with in places and crumbly, also had a filled hole (the branch’s artery?) which I dug out and incorporated into the dog’s tongue. I’ve had mixed results with Somerset Velvet paper sans ‘real’ press, so dampened and used the old book press. More practice needed, but fun to do.

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