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Exchange 95

Spring, 2024
Coordinator: Wanda Hemmings

Sign-up ** CLOSED **


  • Medium: Woodblock print–hand rubbed or pulled on a press, any pigments, any paper)
  • Theme: “I love you, please don’t leaf me…”
  • Paper Size: 7.5 x 10 inches (chuban)
  • Paper Type: No restriction


  • Registration period: January 1, 2024 to January 31, 2024
  • Delivery deadline for finished prints: March 31, 2024

Bea Gold, Encinitas, California
May Bea

10 x 7.5 in, 2 blocks Shina, water color and black block print ink on Nichnuchi, edition 40. First time using watercolors for white line print and block print ink for wood block print.
Funny theme.

Karma Grotelueschen, Lake Redstone, Wisconsin
Will only plants survive?

10 x 7.5 in, one maple, speedball on sumi e, edition 200.

Wanda Hemmings, Tacoma WA

7.5 x 10 in, 1 block of lino, Caligo Safe Wash on 42gsm washi, edition 20.

George Jarvis, Akita, Japan
Don’t Leaf

19 x 25 cm, 6 blocks, Matsumura shina plywood, Holbein pigments, Golden Open carbon black on Naba Kikai Torinoko, edition 35.

Wrapper for Koala

Joanna Bradley & Tom Kristensen, Sydney Australia
Koala Species Credit

10 x 8 in, 2 x Lino plus 1 Shina block, Sakura oil black plus Holbein gouache colours on Nishinouchi washi plus Yamoto chiri, edition 18. This pair of prints is made with the Double Dagger seal, indicating artists working in collaboration to explore environmental themes. These blocks used to make other editions in other colours.

Koala: Phascolarctos cinereus. Status: Endangered in NSW, QLD & ACT. Koalas are shy marsupials living in eucalyptus forests where they can find favourite trees with particular leaves they prefer to eat. Koalas are at home in the treetops, able to leap from tree to tree. They are safest when hidden in the canopy, and only come down to ground to explore or find water. In times of fire koalas may perish while attempting to outclimb the deadly heat and smoke.

Koalas were once widespread across eastern Australia, but their numbers have dropped alarmingly in recent decades with deforestation and increasing habitat fragmentation. Large-scale drought and fire kill large numbers of koalas and lack of habitat connectivity prevents repopulation by surviving koalas. The Australian Government declared koalas endangered across most of their range in 2023. The NSW Government advised that koalas are likely be extinct by 2050 without urgent action taken to protect them.

Governments hope to prevent extinctions of endangered biodiversity by developing an offset market where developers can pay compensation for destroying natural areas. The fees, known as “credits”, are calculated following formulas based on vegetation types as measured by the developer. Credits given over to the Biodiversity Conservation Trust are used to employ ecologists who attempt to compensate for destroyed natural areas by adding benefit in other areas. There are other variations where a developer can offset destruction on one part of a site by enhancing values on another part. It is also possible to buy species credits from another landholder who agrees to protect biodiversity. Government has set up a market to buy and sell credits, this is where the species credit price is set, as given on the print. No offset scheme has yet demonstrated nature-positive outcomes.

This pair of prints is made with the Double Dagger seal, indicating artists working in collaboration to explore environmental themes. Joanna Bradley made the joey print using 2 lino blocks, Sakura black on Nishinouchi kozo washi. The gum leaf wrapper was made by Tom Kristensen from a single Shina block, using Holbein gouache on vintage Yamato kozo chiri Both prints made using a traditional baren. This edition produced for the Baren Forum Exchange no. 95, theme; I Love You, Please Don’t Leaf Me.

Brad Ladwig, Honolulu, Hawaii
I love you Leahi, please don’t leaf me

7.5 x 10 in, 6 Shina Plywood, Tosai’s pigment and opaque titanium white watercolor on Masa, edition 30. Leahi, “Diamond Head” is our crown jewel over here on Oahu. Design is based on view from Ala Moana Beach Park near where I live. Been a while, a little rusty on the technique side…started printing when the paper was still a little too wet, so unfortunately some bleeding on some…nothing like (re)learning by doing. Looking forward to seeing everyone’s prints!

Mike Lyon, Kansas City, Missouri USA

7.5 x 10 in, Four blocks laser-engraved from 1/2 inch cherry plywood, Guerra pigment dispersions in order: cadmium yellow medium, quinacridone magenta, pthalo blue green shade, carbon black. on Echizen kozo washi by Iwano Ichibei, edition 18. Another composition of square spirals with number of spiral ‘wraps’ related to a reference image. In this instance, the spirals for each of the four colors were moved slightly out of register. In my mockup this produced a kind of electric zinging of diagonal slashes of saturated color. The print, however, was disappointing and while it’s still kind of interesting to me in terms of surface design, it doesn’t sing as intended. They rarely do, honestly.

Theresa Martin, Lawrence, KS
“Buenos Días”

10 x 7.5 in, Linoleum, Unspecified oil-based relief ink (can’t read the label) on Stonehenge, edition 24. I think the theme of this exchange is corny, but I’ve been making prints of many of my friends’ aging parents, trying to capture the joy of being alive. And I think of the line from the Milagro Bean Field War, where the old man looks in the mirror every morning when he gets up and says, “Thank you, God, for another day.” So this is one print of another person who has not left yet.

Bronwyn Merritt, Orlando, FL
The Long Goodbye

10 x 7.5 in, 1 foam block, speedball acrylic ink on speedball print master, edition 18.

August Mezzetta, Boynton Beach, FL
Love’s Winter

7 x 10 in, One Lino, Akua Intaglio on Yasutomo, edition 22.

Julio Rodriguez, Skokie, Illinois
Leafs not leaves!

7.5 x 10 in, Three linoleum blocks, Ocaldo printmaking inks on Rives White, heavy 175gms, edition 25. I loved playing goalie during my high school
and college years and always favored the Canadian hockey teams. The Toronto Maple Leafs hockey team, one of the original six NHL teams was named after the honor leaf worn by Canadian soldiers in their uniforms during World War I. Following the rules for a name the plural for more than one player is Maple Leafs – not Maple leaves !

Jurgen Stieler, Flensburg, Germany

10 x 7.5 in, two blocks linoleum, Cranfield Caligo Safe Wash Relief Ink phtalo green, traditional gold on Clairefontaine Simili Japon Blanc 130 grs, edition n.n.. One block for green and one block for gold, printed on an old small Zokei intaglio press. “”Herzblatt”” is a German expression, put together of “”Herz”” (heart) and “”Blatt”” (leaf). Translated it is heart leaf and also meaning something like sweetness, usually said to a loved person. The traditional Gold hue was a challenge to print. The ink is not as smooth as the safe-wash is, and I ruined a lot of prints until I got the correct settings for the press. All in all I am not really satisfied with the result, but there wasn’t time enough to start a new one. Next time better…

Joseph Taylor, Evanston, IL
Don’t leaf me.

10 x 7.5 in, shina plywood, Speedball Supergraphic Black on Green Mango leaf paper, edition 25.

Frank Trueba, Felton, CA, USA
Don’t leaf me.

7.5 x 11 in, 1 cherry ply, 4 basswood ply, tube watercolor and dispersions (8 colors inc. sumi) on Torinoko natural (from Hiromi Paper; MMN-105), edition open.

Dana Wangsgard, Berea, Kentucky
Under the Dragon Moon

7.5 x 10 in, 1 – Cherry, Cranfield Safe Wash Relief Inks, Black on Found, edition 20. This offering uses Chine Colle technique on collaged found paper. The paper ranged from 1930 magazine add, Danish metro maps, to old play bills.

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