Coordinator: Anne Van Oppen
- Medium: Woodblock print–hand rubbed or pulled on a press, any pigments, any paper)
- Theme: “Exodus”
- Paper: Size 5 X 7 inches
- Registration period: Four weeks starting October 1, 2019
- Deadline for finished prints: February 28, 2020
Linda J. Beeman, Owosso, MI (USA)
Screen Door [don’t let it hit ya]
7 x 5 in, three shina plywood blocks, Lukas watercolor on shin torinoko, edition 45. https://lindajbeeman.com
John P. Center, Chicago, IL (USA)
10 plagues exodus
5 x 7 inches, Corian relief engraving, copper intaglio engraving and wood type letterpress, Daniel Smith water base ink black for relief and letterpress aqua for intaglio on Strathmore acid free, edition 30. I don’t use the email, contact me via facebook message.
Diane Cutter, Corrales, NM (USA)
7 x 5 in, shina plywood, Charbonnel carbon black etching ink on Strathmore drawing paper, edition 31. Printed using a press, I liked the abstract image of something detaching from earthbound branches, an exodus of sorts. In my mind sometimes it was a space pod and other times it was some sort of dandelion type seeds on an updraft
Anthony DiMichel, Friday Harbor, WA (USA)
5 x 7 in, Gomuban block, Speedball Professional Supergraphic Black on kashuiri (bark paper), edition 30. When I first began making prints, in the late seventies, I saw it as a great adventure with many unforeseen surprises, as I began to discover the remarkable number of ways one could work on the metal or block to create unique imagery. https://www.adimichele.art/
Claudia Dunaway, North Carolina (USA)
7 x 5 in, shina plywood, Akua liquid pigment on Rives paper, edition 35. Some images are slightly smaller. I am still learning. Thank you!
Bea Gold, Encinitas, CA (USA)
7 x 5 in, shina plywood block, watercolor and black on Nishinouchi paper, edition 50. I printed colors on the reverse side of print to produce a softer quality of paint. The side of the color was treated as a white line print. All colors printed on the same block at the same time.
Fernando Gomez, Vitoria, Espirito Santo (Brazil)
17,78 x 12, 5 cm, 4 blocks (2 wood blocks and 2 linoleum blocks), Akua intaglio, speed ball water base and oil base black ink on Hahnemuhle bamboo, 265 gm, edition 36.
George Jarvis, Akita (Japan)
避難 (Hinan: Escaping from catastrophe)
17.8 x 12.7 cm, Matsumura shina plywood, Golden Open Carbon Black + watercolour on 出羽和紙楮 (ldewashi Kozo paper), edition 40.
Martha Knox, Philadelphia, PA (USA)
Bound for Pennsylvania
7 x 5 in, shina plywood, Gamblin ink on Stonehenge paper, edition 36. About a year ago I adopted an old Redbone Coonhound. He had been found at a shelter in Georgia and would have been euthanized had he not been rescued by an organization that moves abandoned dogs from overpopulated areas to places where they are more likely to be adopted. We picked him out at the shelter in Media, Pennsylvania. He was wearing an aqua bowtie, which I guess had been put on to showcase him as a particularly handsome gentleman. He has turned out to be a very affectionate, friendly, food-driven guy, who even now seems baffled by his new life in the big city. We named him “Mutlu” which is Turkish for “happy”.
Theresa Krupp, Minneapolis, MN (USA)
7 x 5 in, linocut, Earth Brown on mixture of paper, edition 34. It’s always easier getting out…unfortunately for many it’s harder to get in. In a safe, healthy, timely, dignified way.
Brad Ladwig, Honolulu, HI (USA)
7 x 5 in, 2 Shina Plywood, One piece of brushed white oak wood flooring for the wood grain background, watercolor and gouache on Masa paper, edition 50. I think the paper was a little too wet when I printed so the colors are kind of washed out. Tried to do a woodgrain texture background similar to Tamami Shima’s prints.
Allen Lennie, Peeblesshire (Scotland)
7 x 5 in, katsura block, Schmincke colours on Fabriano paper, edition 30. Reduction (and addition) cut and printed in 6 colours. I back-filled some previously cut areas to gain a seemingly additional colour. Yul Brynner was of course an exile himself having been born in Vladivostok and lived in China and France before expelling the Israelites from Egypt as Ramesses the Second.
Clive Lewis, Guelph, ON (Canada)
The Rhetoric of hate goes forth
7 x 5 in, linocut, Vanson ink on Stonehenge paper, edition 35.
Therese Martin, Lawrence, KS (USA)
5 x 7 in, shina plywood, Gamlin oil-based ink on Stonehenge paper, edition 35. https://www.theresamartinprintmaker.com/
Barbara Mason, Hillsboro, OR (USA)
Woodblock, Moku Hang
5 x 7 in, wood block, water-based color on Torinoko paper, edition 30.
August Mezzetta, Cape Coral, FL (USA)
7 x 5 in, shina plywood & Subi block, Akua Intaglio on washi, edition 25. Used some watercolor for background wash
Anne van Oppen, Southern California (USA)
5 x 7 in, collograph, Caligo Safe Wash ink on Fabriano paper, edition 28. Making a collograph is a fun and interesting way to depict an image. I find that thinking about layers and how they will print a great challenge!
Chris Roberts (USA)
7 x 5 in, shina plywood, sumi and watercolor on Shin Torinoko, edition 30. 1st print pulled on my Vandercook Press. Definitely a new learning curve but enjoying the new process and increasing my control of the finished work through practice.
Laura Szabo-Roberts, Somonauk, IL (USA)
7 x 5 in, shina plywood, sumi and watercolor on Shin Torinoko, edition 33.
Julio Rodriguez, Skokie, IL (USA)
Exodus – Castro’s Cuba
5 x 7 in, linocut, Blick’s block inks on Rives Cream Heavy paper, edition 35. My family left Communist Cuba in 1968 as political exiles and we settled in Chicago. I was eleven years old. Most of the rest of our relatives eventually left Cuba also looking for political freedom and a better life away from Socialism & Communism. When I think of the word “exodus” this is the first thing that comes to me; our family’s and the many others that fled the oppressive regime of Fidel Castro. Here in a traditional pose with his trademark cigar is a friendly rendering of an otherwise evil and satanical dictator that hurt and separated millions of families.
Joseph Taylor, Evanston, IL (USA)
7 x 5 in, birch plywood, Speedball magenta/white Franklin Black pigment and burnt plate oil on Rives BFK, edition 35.
Marlene Vidibor, NY (USA)
Exodus from Eurasian Steppe Westward
5 x 7 in, Akua Intaglio ink on Reeves BFK paper, edition 31. Scene reminiscent of cave painting portrays information from a Barry Cunliffe book By Steppe, Desert and Ocean the birth of the Eurasian Steppe.