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Exchange 79

Coordinator: Chris Roberts

Images were scanned by Wanda Hemmings (thank you!)

  • Theme: OPEN
  • Paper size: Chuban, 7.5 X 10 inches – 19 X 25.5 cm
  • Image size: Any size to fit paper (any orientation), any number and shape of panels
  • Paper type: No restriction
  • Registration period: CLOSED
  • Drop-out deadline: January 31, 2019 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: February 28, 2019

Fernando G Alvarez, Vitoria, ES, Brazil

20.5 x 19 cm, one linoleum block and one wood block, waterbased inks and oil based inks on KSP (a Brazilian special paper), edition 40. I used to work with multiple blocks at the same time, so the image appears slowly and always there is a change to intervene.

Patrick Armstrong, Thunder Bay, ON Canada
Three Hares

10 x 7.5 in, three linoleum blocks, Caugo relief black on Fabriano, edition open. Hand printed with a baren from three separate carved linoleum blocks

Calvin Caruse, Shaker Heights, OH USA

10 x 7.5 in

John Center, Chicago, IL USA

10 x 7.5 in, hard maple, Graphic Chemical oil based ink

Diane Cutter, Corrales, NM USA
2019 Ornament

7.5 x 10 in, shina plywood, Speedball relief oil on bleached mulberry, edition open. Every year I regret not designing an ornament in time for the December Christmas ornament sale at the gallery. This year I made them early so that I would have time to assemble them. Since printmaking has a long history of providing art to the masses, this seemed a perfect way to make two dozen ornaments. the steeples are from adobe churches in the area.

Maria Arango Diener, Las Vegas, NV USA

10 x 7.5 in, Corian synthetic resin, Gamblin and Daniel Smith black and umber on Stonehenge cream, edition 100. “Hidden in the glorious wildness like unmined gold” – John Muir. When I first saw the cabin, I felt strangely attracted to the old teetering wooden thing. Maybe because I saw it comfortably hidden, surrounded by overgrown gamble oak, mountain mahogany, and a variety of fir, spruce, and pines. We kept nearly all the trees and the cabin shines in the glorious sun bathing the leaves with light. I used a variety of techniques to achieve a sun-bathed woodland softness, a blotter for backing, grainy paper, and softer ink.

Anthony Dimichele, Friday Harbor, WA USA

10 x 7.5 in, birch, Speedball professional supergraphic black on thai kozo, edition 35.

Gillyin Gatto, Machias, ME USA
Best Friends

10 x 7.5 in, linoleum block, Portland intense black on mulberry white, edition 75. A woman and her dog – nothing better.

Bea Gold, Encinitas, CA USA
Cousin Kids

10 x 7.5 in, 10 x 12 shina plywood, Yasutomo sumi on hotshot white professional grade, edition 50. I used Hotshot White recommended for oil based ink I used with the water based ink. The images are a bit fuzzy, but I like them.

Wanda Hemmings, Cambridgeshire, UK

10 x 7.5 in, four linoleum blocks, Vanson rubber ink on 300gsm acid free, edition 35. During my days as a student, I was privileged to live in the Ziggurats designed by Denys Lasdun. The first lino print I attempted was a reduction print of one of the Ziggurats. Looking back, it was surprisingly successful but somewhat lacking artistically. This is one of a series of prints I am currently working on using up to five blocks in different arrangements. This print uses four blocks, each printed once. Three of the front of the building in black and one of the back in white.

George Jarvis, Akita, Japan
Scary Tales

25.5 x 19 cm, Matsumara shina plywood, pigments in thin acrylic medium on Idewasho kozo, edition 40.

Martha Knox, Philadelphia, PA USA
Rainbow Leaf Beetle

10 x 7.5 in, three shina plywood blocks, Speedball water-based relief ink on Subi, edition 30. I have been working with process cyan, magenta, and yellow ink in printmaking lessons with some of my students and this led me to want to make a multiblock print using those three colors. What better subject than a rainbow leaf beetle (Chrysouna Cerealis)?

Therese Krupp, Minneapolis, MN USA
Inside & Out

10 x 7.5 in, shina plywood, black relief ink with additional colors on screen printing paper, edition 32.

When inside…
My mind wanders…
Out the window…
Glancing up to…
To the sunlight.
My senses kick in…
Joyfully smelling everything…
My hand gently touches…
Patches of green…
My soul follows…
Happily joining me.

A poem and a print… Enjoy…

Brad Ladwig, Honolulu, HA USA
Still Life with Guitar

10 x 7.5 in, cherry veneer plywood key block plus four shina plywood color blocks, Holbein and Sennelier watercolors on shin torinoko, edition 50. Based on a watercolor I did in 2005. I decided to use only Prussian blue and yellow… A little washed out and didn’t get enough tonal difference between the color blocks. Also this is the first time I tried cherry veneer key block (it shows)! Looking forward to seeing everyone else’s prints.

Theresa Martin, Lawrence, KS USA
January Blues

10 x 7.5 in, linoleum, Gamblin oil base relief inks on Stonehenge, edition 35. I made this reduction print during this winter’s polar vortex.

Barbara Mason, Hillsboro, OR USA
Winter on the Oregon Coast

10 x 7.5 in, woodblock, waterbased inks,Tosai from McClains on bamboo paper from McClains, edition 30.

August Mezzetta, Punta Gorda, FL USA
Gato en Roja

10 x 7.5 in, shina plywood, Akua liquid pigment on Subi block printing paper, edition 32.

Achim Nickus, Seattle, WA USA
Wailing Whales

Chris Roberts, Somonauk, IL USA
Snow Over Blue Moon

10 x 7.5 in, shina plywood, Daniel Smith watercolors on shin torinoko, edition 36.

Linsay Schwartz, Portland, OR USA
Douglas Fir Cone

10 x 7.5 in, linoleum, Gamblin on Johannot.

Laura Szabo-Roberts, Somonauk, IL USA
Pinecones 2

10 x 7.5 in, shina plywood, Daniel Smith watercolors on shin torinoko, edition 31.

Renee Ugrin, Happy Valley, OR USA

10 x 7.5 in, shina plywood, Daniel Smith oil based inks on maybe Lenox 100% cotton, edition 32. This edition has a sister edition with different colors. The image is from our friend and neighbor’s tree farm in boring, Oregon.

Brian Ross Wakeham, Middleton, WI USA

10 x 7.5 in, shina plywood, black oil ink on masa, edition 33. Original artist: Sunny Clockwork.

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