Thursday, February 28, 2013

Sample Simple Record Keeping

Sample simple...heh heh, couldn't resist!

Just a little while ago, my friends in were asking about record keeping for printmakers.
First you have to decide what sort of records you want to keep and make decisions on whether you want to keep everything integrated or just jot down information about each art work. You may want to consider keeping records on sales, gallery submissions and exhibits, works created, collector's demographics and, oh, so much more.

Here are some books to consider:

Indispensable! Constance Smith's Art Office, Second Edition: 80+ Business Forms, Charts, Sample Letters, Legal Documents & Business Plans (Art Office: 80+ Business Forms, Charts, Sample Letters, Legal)

Art Marketing 101 has pretty good info on what may be important down the road Art Marketing 101, Third Edition: A Handbook for the Fine Artist (Art Marketing 101: A Handbook for the Fine Artist)

Quite a bit of information about what galleries expect from artists in "Starving" to Successful: The Fine Artist's Guide to Getting Into Galleries and Selling More Art


If you want to keep integrated records of artwork, collectors, submissions and exhibits (for example) you will need integrated software. There are various out-of-the-box choices on the web, all of them seem adequate enough, these are the ones I have looked at:

ArtWork Archive
Seems pretty cool with many features, great feature is online backups, drawback is "revolving" charge which I'm allergic to big time. But all in all a very complete package.

Working Artist
I have not downloaded and tried this one but the features are there and the price is right. More features than the previous and really an affordable solution. Another advantage is they have been around for a while and upgrade as needed so you won't be stuck with an obsolete software (I have seen many others come and go).

Art Systems
If you can afford this dawg or if you manage a gallery or a group of artists, go for it. I don't think there is a feature that this doesn't have and I based my own database on their screenshots. I think about forking out this much money but I can always think of how much paper I could buy instead.
Still, all in all, a great software package now with cloud backup and all the bells and whistles.

But what about FREE?

Well, there's the do-it-yourself approach. At first any record keeping will do, but a spreadsheet is eternally malleable and can be exported to databases and practically any software. I started out with a simple spreadsheet based on what items I wanted to keep records for each of my prints. Here is a sample that may look familiar from Baren exchanges:

But I also want to know where my prints are located and other things, so here is a sample spreadsheet that I created in GoogleDocs based on that information:

As you can see, you may want to add to the print information where you physically keep the prints and any images you have online or stored locally. Any other tidbits of info about each work can be added as you need to by adding a new column.
A simple spreadsheet is a good start for any printmaker, they are easy to use and, as I mentioned, very flexible when upgrading to something better. Not that there would be a need to upgrade. If you get handy with spreadsheets, you can filter records (for example to view only woodcuts, or only woodcuts created in 2005, or whatever). You can also merge the records with a program like MS Word and create print info sheets like the one above.

But a spreadsheet has what's called a "flat" file system. For record keeping and integrating with other spreadsheets, exporting reports such as gallery entries and artist resumes...well you really need a database. Since you're probably sleepy by now (I know I am), next post will outline a simple database, features of a database and how to create one that tells you stuff you may want to know about your art records.

I have most of the books that come up in that search but I just saw a new one! I better get it, can't read enough about this stuff.

Thursday, February 21, 2013

Papers, the dreaded final chapter

More papers for your delight below.

Other books about paper that are worth building extra shelves for...not that it's something I would ever do!

Jules Heller Papermaking: How to Make Handmade Paper for Printmaking, Drawing, Painting, Relief and Cast Forms, Book Arts, and Mixed Media

Bo Rudin Making Paper: A Look into the History of an Ancient Craft

Herbert Holik Handbook of Paper and Board

Leonard M Rosenband Papermaking in Eighteenth-Century France: Management, Labor, and Revolution at the Montgolfier Mill, 1761-1805


Magnani Incisioni

Snow white, thick and absorbent, this is very much like Arches 88 except somehow it behaves better. It is especially suited for wood engravings or for embossing (surprise, since those two print-acts require such different characteristics).
For a white paper, this is definitely the king. It is very smooth and accepts buckets of ink, layer after layer. It is  a strong paper that tears smoothly.

Magnani Pescia Blue/Cream/White

This paper is thick and soft and of an unusual light blue color. Pescia also comes in a beautiful cream and pure white. The surface is very smooth with no grain. Tears or cuts remarkably well. Basically "acts" like Arches 88 but better quality all around.
It works well wet or dry, shrinks evenly (so it registers well), and takes much abuse so it is equally suitable for hand or press printing.  It embosses well because of the thickness and will take many layers of ink. It also accepts engravings and other printmaking methods, truly a king of papers.
Pine Creek Escapade is printed on Pescia.



This is a great practice paper but also very very very! suitable for wood engravings. It is a Japanese paper, so it is thin and strong. comes heavily sized on one side, smooth like typing paper--no, smoother. The other side clearly shows the typical long fibers of Japanese papers (a great and affordable teaching tool).
Other than that, it is snow white, thin and affordable. I buy it by the roll and keep it for proofing but also for engravings to get all that wonderful detail.

Mexican Bark

This hand-made paper is expensive and difficult to work with. Another one of those challenges! Unsized, tough, thick; made by beating bark "to a pulp" then forming sheets. It feels like thin layers of bark and absolutely will not accept ink unless dampened thoroughly. This doesn't mean it has to be soaked, just let the dampness travel well overnight. Printing requires a gel additive or the paper will stay on the block.
It comes in ivory, chestnut, buckskin, and marble (a mixture of chestnut/buckskin and ivory). It is specially suited for simple images and will emboss nicely. 
It will also tear nicely, not always where you want. It is impossible to cut or tear in straight lines, but wetting with a paint brush causes the paper to separate beautifully.
A nice challenge for specially planned images.

Mulberry Natural

This is a thin, unsized, decorative paper that is tough to use in prints. The best use I can think of is for one-color prints, since the speckled greenish background of the paper adds plenty to the image.
It behaves much like Japanese papers, that is, it loves ink and is strong, although not as strong and malleable as okawara or hosho. If you have a  specific image in mind like the Joshua Forest pictured, then it is a great paper and no other will do. I keep using it to print desert images.

Murillo Printmaking

This is a thick, cardboard-feeling, chunky and tough paper. It absorbs the ink well, but has to be soaked to print because in its dry state it is HARD!
It comes in the pictured Chestnut and many other bright and buff colors. The cream Murillo is especially attractive. It has a distinct wavy pattern which will show in the finished print. After soaking and drying it is likely that it will buckle much like watercolor paper, so it has to be dried under weights between blotters.
Murillo Chestnut was used for Hija Del Sol.



A meaty, German mould-made paper with very distinct waves running through the fibers. It is hard to the touch and medium weight, has to be dampened for printing. The waves will show through the finished print, so if you don't like that, don't use it.
It absorbs the ink readily, although dry printing does not yield good results. The warmth of the tan paper is difficult to find in others, except Arches tan and Kitakata. Renaissance was printed on Niggeden.



This is a thin, lightly sized on one side, beautiful paper that is a dream to print on. It works equally well dry or dampened, it is lightweight, warm in color. It prints equally well on the sized side and the unsized side, giving beautiful results either way (oil inks). Tears well, feels soft and strong. 
If you are planning a big run, get all your paper in one order because the rolls (36"x72") can vary quite a bit in color. Also, there are different qualities, some hand-made and some machine made which are cheaper but lack the "gorgeousness."


Rives de Lin

This very expensive paper is so full of personality that I can't help using it, even though it's really meant for drawing. When I try to explain to someone how beautiful paper can be, I merely show them  a sheet of this stuff.
Rives de Lin is snow white and toothy, but don't let that stop you as it absorbs ink as well as any of the Magnani papers. The images are softer because the 'shallows' of the paper will remain white. It is a heavy Western type paper that I love using for soft effects.
It will accept layer upon layer of ink and the final effect can look like a watercolor. Tears beautifully and in fact the tears are closer to a real deckle than when tearing any other paper.
It is, however, expensive but well worth it and comes in rolls for the adventurous.

Rising Stonehenge

A very affordable all printmaking purposes paper. Advantages are numerous: comes in a variety of soft colors and black, it is a Western heavy paper ideally suited for both woodcuts and wood engravings, embosses well, prints great wet or dry.
It is lightly sized internally, so it is a bit harder (non-spongy) than the Magnani papers. It tears great and with a nice imitation deckle edge. Comes in all sizes. Behaves in every occasion and comes in a wide range of creams, tans and off whites. I know we printmakers are supposed to use more expensive papers, but this is a definite winner with me and I can't see a downside.
Also comes in rolls.

Dragons got lost but...

Just for clarification, I am painfully aware that LAST year was the Year of the Dragon and THIS year is the year of the snake. I actually (really) started this print last year with full intention of complying with a deadline for this very friendly exchange of Chinese Lunar New Year prints.

For more information on that, visit the amazing website, owned and operated by an amazing group of stubborn woodcut and woodblock printmakers who have stuck together through the years. This (or should I say, last) print completes the cycle of 12 Chinese Lunar New Year prints that have crossed the world every year since one of our major instigators, Julio Rodriguez, started the whole mess.

In any case, here is my very late Year of the Dragon print, a wood engraving. BTW I have banned myself from further participation in any exchanges until I get my head out, the sand...when it comes to deadlines, anyway.

Dragon Valley by Maria Arango
Print Title: Dragon Valley
Paper Dimension: 7 x 8 inches
Image Dimension: 5 x 6 inches
Block: Boxwood round
Pigment or Ink: Daniel Smith Traditional Black
Paper: Stonehenge Natural
Edition: 100
Comments: Finished a year late, dragons...snakes...same thing with or without legs, no?
Lest anyone thinks I made up these rock formations, I include a picture of the actual unretouched Dragon Valley, my personal name for a nameless view of rock outcroppings.
The actual location is the indomitable and beautiful Valley of Fire State Park, a short drive from Las Vegas Nevada.
this is a standard engraving with free use of traditional engraving tools and a rotary tool with dental bits. Printed with a mini-hydraulic press.

Here is the picture of the "real" dragon valley:

Dragon Valley, Valley of Fire, Nevada photo by Maria Arango

My prints are going out today if I have to sit on my butt and lick stamps all day, by golly. Better late than never?

Tuesday, February 19, 2013

Papers for Printmaking Part 2

Following are some of the papers I have tried and how they behaved for me.
Generally I look for how papers behave for woodcut prints, but I have grown to love many papers that I use for sketching, watercolors and even painting.

Two more suppliers of awesome papers:
for a huge array of Japanese papers
and to enjoy the feel of handmade papers, learn a boatload and support smaller manufacturer

And more book recommendations, of course, here are three GREAT BOOKS on papermaking, from a historical and craftsmanship perspective.
Dard Hunter's  Papermaking: The History and Technique of an Ancient Craft is the book to get for printmakers that want to delve into the history of paper. Really fascinating stuff!

A bit pricey but a Timothy Barrett's great book on Japanese Papermaking with great illustrations and photographs Japanese Papermaking: Traditions, Tools, Techniques

And an out of print book, I confess one of my favorites, about the Craft of Japanese papermaking by Kiyofusa Narita with woodblock illustrations Japanese Paper-making

Maria's sampler of printmaking papers:

Arches 88
This paper is one of the best I have found for all types of printmaking. It is thick and soft and snow white. The surface is very smooth with no grain. Tears or cuts remarkably well.
It works well wet or dry, shrinks evenly (so it registers well), and takes much abuse so it is equally suitable for hand or press printing. Definitely use it for black and white oil based prints to achieve a most dramatic effect. It embosses well because of the thickness, but behaves otherwise much like the strong but thin Japanese papers  like Hosho.
It works equally well for woodcuts and wood engravings.
Arches Black
Delicious to print on. Not sized, that's why it likes the ink so well. Black paper presents a special challenge because you have to think your print in reverse/reverse. Whatever you cut out will be black. 
Arches Black is thick and soft. The surface is a bit more grained on one side, I usually use the back of the paper. It tears and cuts very well. Scuffs easy so be careful when handling.
Gives a very crisp impression but you have to remember to use very opaque colors or you will end up with a much darker image than you intended.

Arches Tan
Much like Arches Black. Same behavior, same feel. It gives prints a wonderful "warm" look and acts like a mid-tone.
For some reason, the tan likes the ink the best of all the Arches family. By "liking" the ink I mean that the impressions are crisp, the ink lays evenly and layers well. 
Print damp or dry.
It is a bit too "spongy" for wood engravings, but can be made to work well.

Bangla-Desh Handmade
This wonderful thick and spongy paper I bought at a place called "1,000 Villages" in a small town in Kansas. It is unsized and will stick to the block unless an additive like Daniel Smith Miracle Gel is used. Too wet and it will desintegrate back into pulp. When dry it is cardboard hard.
It tears well, cuts better, embosses deliciously and absorbs as much ink as you want to roll out. Gives clear and "stamp" like impressions. Every sheet is different.
See the notes on Printing On Hand-Made paper for recommended procedures.

BFK Light
This is a very affordable and versatile paper. It comes in white and buff, which are very similar in color. This paper is lightweight and accepts both woodcuts and wood engravings (although somewhat fuzzy on the wood engravings). As all Rives papers, it seems to be thirsty for ink and works well damp or dry. Tears very easily and handles well. An extremely gentle and forgiving paper to work with and warmly toned.
I am told some folk even use this very successfully for moku-hanga, Japanese water-based, prints.

Canson Me Teintes (Red)
This is a paper made for pastel and drawing work. What I like about it is that it comes in a wide variety of bright colors. The "pastel" side is toothy. The reverse is smooth and ideal for printmaking.
Canson is thinner than the Arches family, it prints well dry or wet but I recommend dry. It likes the ink despite being made for drawing. Second and third layers of ink will shine unless Set Swell Compound is used on earlier layers. Tears and cuts well but it is fragile when dampened.


Daphne hand-made papers from Nepal come in three weights. 
Lightweight is feathery, transparent and suitable only for special projects. My Life of a Tree Series was printed on Daphne. It's a bear to work with, tears easily but not where you want it to.
Medium weight is suitable for woodcuts. It is sized but not too heavily. Being very strong, it doesn't tear easily, but using a brush and water makes it pull apart easily.
Heavy weight is a wonderful paper resembling parchment and can look like leather. It looks a lot like the background of this page. It works better dampened but becomes fragile. It is heavily sized but not consistently from batch to batch. Sometimes fibery inclusions can dent a cherry block so it's not for the faint of heart.
Graphic Chemical Heavyweight
For being so affordable, this paper surprised me in its ability to take ink well, layer well, tear well, dampen well...there is very little that this paper can't do. A sturdy Western paper with a light cream and slight toothy finish, it embosses well when dampened. 
It is ink thirsty, so it will take several layers of ink without complaining. A bit rough for engravings, but also surprising in that function.
Did I mention affordable?


This is really a pastel paper, a bit softer than Canson and also available in a wide array of colors. It is lightweight and accepts ink very well, one side being toothier than the other. 
The main advantage is the color range. Dampening makes this paper very fragile as it was meant for dry media. Tears well, use it dry.
Inks seal the unsized paper quickly, so the top layers will shine.



Another questionable choice by yours truly, but it works so well!
This is really a drawing paper, thin and meant for dry media. Lo and behold, it takes the ink so well and comes in such warm unusual colors like "tobacco", "maple", "crimson", and "chocolate," among others.
Fibers are shorter than on traditional printmaking papers so they are fragile if dampened but work great dry.
This is also a nice affordable choice for the explorer in you.

This paper is randomly scattered with inserted material. It is a difficult paper to work with. It is thin and unsized and will tear under the pressure of a baren unless backed with a strong backing sheet.
Will not work wet, tears poorly and cuts fairly with a very sharp blade.
The inserted materials are random and large pieces, sometimes they have already torn the paper fibers. Printing around these intrusions will leave a lighter mark all around them.
Why did I use it? It is exciting and lends an individuality to every print. It also lends a distinct quality to an otherwise simpler image if used well.
Kitakata (Kitikata)
This paper is light, translucent, strong and absorbent like many Japanese papers. It truly loves the oil based ink and my fellow Hanga-printmakers tell me it works very well with water based inks.
The warmth and underlying texture of this paper is hard to beat for adding a nice warm tone to a print. Only complaint is that it comes in small (16"x20") sheets and it is expensive.
It works equally well for woodcuts and wood engravings. In fact it might become one of my favorite wood engraving papers.

Next blog post, more papers!

Monday, February 18, 2013

Papers for Printmaking Part 1

Paper is beautiful and magic. Over the years I have developed an appreciation of paper, not only as an medium for art but as an art itself. Having said that, these notes about paper will not tell you anything about sizing, paper making, fiber composition, weight and traditional size or definitions about paper terms. You can find all that in the first section below, About Paper Sources and Resources.
What I will discuss in these notes, however, are notes on how the paper feels and behaves under the attack of this artist. I say "attack" because often times we artists tend to abuse materials in many ways. As an experimental printmaker and lover of papers, I am guilty of paper use and abuse.

How to Get to Know Paper

Here is what I do to get to know my papers:
Buy paper samplers! For one thing they are so cute, little tiny squares of paper in a neat little book...
For another thing, no matter how much you look at a picture of a paper in a catalog or in the web, you cannot get to know a paper until you...
Paper sampler! Click to fill your screen with paper.See the paper. Hold it up to the light, all kinds of light, natural, fluorescent, incandescent; heck take your papers out to the campfire on a still desert night and look at them there. Turn them over and do it again. Notice the fibers, the weave, the patterns of the molds, the hills and valleys, the watermarks, the little chunks of inserted material.

Feel the paper. Touch it on both sides, learn what size feels like, feel the difference between papers and the likeness. When papers "behave" the same under your baren or press or charcoal stick, chances are they will feel similarly when touched. Close your eyes when you feel them.

If you can afford it, of course, buy full sheets of paper and actually TRY the paper in your daily business of drawing or printmaking. Learn from the book sources above, all about sizing and uses for papers. Purchase the large (full-sheet) paper samplers, or buy one sheet every week and by the end of the year you will have tried 52 different kinds of paper. Start out by purchasing the papers made for whatever medium you happen to be "arting" in, then move on to...

Experiment! (my favorite word). Learn all the rules first, then break them. Print on pastel paper, draw on watercolor paper, paint on printmaking paper, wet the paper, use it dry, paste it to cloth, prime it with gesso... This is how you get to really know paper, because you will learn how paper "behaves" under different whimsical treatments.

It is this paper "behavior" that I am looking for when I use a paper. I can look up the sizing and recommended uses and light-fastness and weight information in a chart. I can make sure (please make sure) that the paper is actually acid-free and will hold my art dearly for centuries to come. I can listen to recommendations from others, I can look up the most suitable paper for a particular use.

Next blog post I will post about various papers I have tried and how they behaved for me. In the meantime, here are a selected few selected sources and suppliers.

Few Selected Paper Sources and Resources

Sylvie Turner's The Book of Fine Paper is an incredible resource for papermaking, history of paper, types of paper, and it even comes with a mini-sampler of fine papers from around the world. I highly recommend it if it's the only reference book on paper in your personal library.
The Book of Fine Paper: A Worldwide Guide to Contemporary Papers for Art, Design & Decoration

If you must have two books, the next that I recommend is the classic Jules Heller book Papermaking:
Papermaking: How to Make Handmade Paper for Printmaking, Drawing, Painting, Relief and Cast Forms, Book Arts, and Mixed Media
  • Shereen LaPlantz's Cover to Cover is a great source for bookmaking and I liked the book because of its respectful treatment of paper.
  • Cover To Cover: Creative Techniques For Making Beautiful Books, Journals & Albums

  • Faith Shannon's The Art and Craft of Paper is a beautifully illustrated book on papermaking that will leave you with a great appreciation for the craft.
  • The Art and Craft of Paper

  • Graphic Chemical & Ink Company has a great catalog with a paper chart. They are also one of the least expensive sources for Western papers, especially if you like to buy bulk. In fact their catalog will teach you more about tools than any other I know. 

  • Daniel Smith Art Supplies publish a catalog that is worth getting even if you never order anything. Periodically they also publish a paper chart that lists a good quantity of papers with all the specifications (sizing, uses, sizes). Their printed catalog has thoughtful explanations of all their papers, with pictures.

  • McClain's Printmaking Supplies has a beautiful catalog that lists a wide variety of Japanese papers and their uses. If you request their paper sampler you also get a description of their papers in a neatly printed sheet.

  • Hiromi Paper has an astounding web site dedicated to Japanese papers, their making, history, much more. Do request their printed catalog even if you print out (like I did) their Adobe Acrobat version.

  • Friday, February 15, 2013

    History of the Woodcut

    I thought maybe I would begin my 1000 Studio Notes with a brief history of the woodcut, shamelessly lifted (with due credit) from Ross and Romano's "The Complete Relief Print". I highly recommend the book to any woodcut enthusiast.

    Here is the text from my website, which is now one studio note "thinner":

    The Woodcut: Introduction and History
    (Verbatim from Ross & Romano's The Complete Relief Print, 1974, The Free Press N.Y.)
    "Of all the forms of expression in printmaking, the woodcut is the most ancient. Its early beginnings in Egypt and China came from the use of wooden stamps designed to make symbolic or decorative impressions in clay and wax. With the development of paper on the Chinese mainland in the second century A.D., the stamping devices gradually evolved into wood blocks. As plank wood was utilized by the artist and the craftsman, he was able to cut and print more sophisticated and complex designs. Many of the earliest images were for popular Buddhist religious use. The woodcut came to Japan from China, in the wake of Buddhism, in the sixth century A.D. The early Japanese woodcuts were also religious in subject matter. It was not until the 17th century that a more highly developed art began to come forth. The Japanese printmaker's concept of the symbolism of subject matter, asymmetric composition, the use of flat color, pattern, and line were a great influence upon the work of Gauguin, Van Gogh, Lautrec, Whistler, and others.

    The woodcut in western art evolved as a later expansion of the utilitarian printing of textiles from wood blocks used extensively in the early 14th century. Though paper from the east was known in Spain in the 11th century, it was not until paper was produced in large quantities in France, Italy, and Germany in the 14th century that the art of the woodcut began to unfold. In southern Germany, woodcuts began as primitive religious figures. Their directness, simplicity of line, and economy of means made them very powerful. They were handbills for veneration, sold for pennies to pilgrims visiting holy places and to the populace on religious feast days. Woodcuts of Christ or the Virgin Mary were often pasted inside traveling chests or onto small altar pieces and frequently sewn into clothing to give protection from evil forces. As the invention of printing from movable type became a reality in the mid-15th century, the woodcut began to appear in more highly developed forms as illustrations for religious books. By the late 15th century the great artists of the time, Durer and Hans Holbein in Germany, Lucas von Leyden in the Netherlands, and Titian in Italy were using this new medium with great eloquence. After the mid-16th century, the woodcut began to decline in importance as a vehicle for aesthetic expression. The richness and flexibility of line engraving and etching attracted most of the major artists dealing with the print.

    The woodcut and, later, the wood engraving became a means for reproducing popular painters and was used extensively for book, magazine, and newspaper illustrations. It was not until the revival of the woodcut as a sensitive, personal art form in the late 19th century, that it regained its place as a major expressive form. The prints of Gauguin, strongly influenced by the Japanese prints being exhibited in Paris, the prints of the German Expressionists who were returning to the simplicity of the early German Medieval woodcuts, and the prints of the Norwegian expressionist Edvard Munch greatly helped to renew interest in the woodcut as a serious contemporary art form. With this revival of the woodcut as a fine print medium came a new spontaneity and creative use of the material. Until the late 19th century the woodcut was in a sense reproductive.

    The woodcuts of the German Renaissance, including those by Durer and Holbein, had often been cut by highly skilled craftsmen from drawings made by the artists directly on the blocks. The prints became very fine facsimiles of exquisite pen drawings, having little relation to the quality of the wood. Line became the important element, mass or wood grain was rarely used. However, the artist-craftsman system, with the artists doing the creative work and the craftsman the cutting, enabled Durer and his contemporaries to produce a tremendous number of prints.

     Japanese printmakers also developed the same system. The artists designed the images, and the skilled craftsmen cut and printed the blocks. In succeeding years, with the artist so removed from the wood and creating in less gifted hands, it was inevitable that the print became a reproductive image until the new approaches of the late 19th century artists. Because the contemporary artist uses the wood more freely with a real sense of the material and usually cuts and prints his own blocks, a more complete knowledge and respect for the material's potential comes forth. The aesthetic freedom of the 20th century artist has enabled him to make new discoveries through experimentation and given him a richer utilization of the medium."

      NOTE: This book is by far one of the best I have read on Relief Printmaking. It is out of print but it sometimes becomes available from various vendors, live link follows:
     The Complete Relief Print: The Art and Technique of the Relief Print, Children's Prints, Care of Prints, Collecting Prints, Dealer and the Edition

    Thursday, February 14, 2013

    New blog?! Printmaking Studio reborn

    In my spare time I've been tinkering with my unwieldy website and decided to take my method section to a blog. More organized that way, or so I say.

    Anyhow, without further ado, here is the Printmaking Studio reborn:

    Subscribe, enjoy, contribute...

    The new and improved Printmaking Studio has moved here!

    Time for a website remodel!

    The sweet smell of an inky studio...
    For a while now I have been managing my website with tons of pages and growing like a bad weed. My Studio Notes section, containing all the knowledge, method, tips and tricks, will be making its way to this blog with new pictures and revised content.

    Should take the rest of the year to complete the remodel, I would think. Right now I'm on manic mode and everything seems possible!

    As I move away from the website, content should be more searchable and better organized. Meantime, just like before, I welcome contributions from printmakers regarding method of any sort, tiny tips or big processes, as related to woodcut and woodblock as possible.

    Happy printing everyone!

    Wednesday, February 13, 2013

    Winds of change...

    Long time no post!
    Seems sometimes in my life I just shake things up just to see what happens. Not that I have that much time in my hands, I just have to jump around and try new things once in a while...make that often!

    This year I'm working on shrinking my unwieldy website and expanding presence in other venues. Announcements to come as they happen and on my website front page, and in here, and...sigh...

    Anyhow, for starters I just proudly donated this piece Recto Verso to the Las Vegas/Clark County Library Permanent Art Collection:
    Recto-Verso two blocks and bound prints 2012

    The piece was done for a show last year in conjunction with the book festival in Las Vegas. I got carried away and carved two blocks, mirror image, large much fun to get carried away in art.
    I have various projects going on and will be posting (so she says) regularly, whatever that means.
    Carry on...