Relief printing

I took a fantastic class yesterday on relief printing taught by Justin Sanz at the Blackburn printshop in NYC. Relief prints are made by using sharp tools to cut into the surface of a block, generally wood or linoleum. When the surface of the block is inked and printed, the cuts print white/blank. The result is a graphic, striking image.

I'm definitely going to continue experimenting with relief printing. The physicality of carving and cutting feels very sculptural, in a reductive way of course. I feel a similar thread to my monotypes since I frequently work in a reductive method where I reveal an image from a dark field of ink.

Check out my first attempt at linocut..

Tribeca Ball and Open Studios

I recently did lithography printmaking demonstrations at two events hosted by my alma mater, the New York Academy of Art: Tribeca Ball and Open Studios. Tribeca Ball is an annual fundraiser to fund the school's scholarships and programs. Open Studios is a chance for anyone interested in the school to check out the fantastic work being created by students and alumni.

The Academy's printmaking facility enables students to work in Intaglio, Lithography, Relief, and Monotype printmaking. I fell in love with printmaking, particularly Lithography and Monotype, when I was studying there.

At the events last week, I met many patrons and artists. I demonstrated the process of printing a lithograph from the rolling up the plate, to working the press, and registering and pulling a print.

 Rolling up the plate with ink

 Preparing to print

Lowering the pressure bar

A successful print on the press 

I had quite a crowd at Open Studios

The reveal!

Tiny art at Single Fare 3

Single Fare 3 opened to a crowd last night at RH Gallery in Tribeca showcasing works of art made on/with/of used Metrocards.. Here's some great press: http://animalnewyork.com/2013/single-fare-3/

My Metrocard paintings are on display along with nearly 2500 other witty and well-crafted works of sculpture, painting, drawing and printmaking. All of the work is available for purchase at http://www.shop-single-fare.com/

Salon Show

I recently traveled home to accept a Merit Award at South Shore Arts' annual Salon Show for my lithograph of my grandfather titled Grip.  He was positively beaming at the opening.

The show runs through Oct. 28 at South Shore Arts in Munster, IN http://www.southshoreartsonline.org/exhibits/exhibits.htm

Chicago Beach

To all my NYC area friends and supporters: if you're out and about tonight, come check out Manhattan Graphics Center's Juried Show opening! My print Chicago Beach will be on display.

Manhattan Graphics Center
Reception: July 14, 6:30-8:30pm
250 W. 40th St., 5th floor
NYC 10018

On view through August 31st.

Chicago Beach, etching, 2011

New studies

I'm experimenting with some new surfaces. I bought a sheet of dibond aluminum panel and am sanding it and painting directly on it. I love how the metal shines and changes depending on how it is lit.  

 Bethlehem study

Oil on aluminum, 4x8 in

I have also been experimenting with collagraph, which is a form of printmaking where you print from a raised surface on a plate. I paint the image on the plate with matte medium mixed with carborundum (grit). It dries quickly leaving a raised textured surface which holds ink and produces a beautiful embossed image.

Collagraph print study

12x12 in

I love successful printmaking days

The print below was inspired by a blurry iphone pic I snapped awhile back, while rushing past an industrial complex off the highway. It is an image which I have seen many times before in my native Northwest Indiana ('the Region') as well as central Jersey and Pennsylvania. The places change, but the image keeps appearing in my work. 

 Untitled XIV (Bethlehem)

monotype, 17x24 in

Almost four hours I worked on the plate for this print, which is longer than I would normally spend on a monotype. I rolled out the ink, created one image, obliterated it, re-inked the plate, roughed in the new image, wiped off the plate tone in the negative space, then went back in with stiff brushes to draw the details. I wanted to achieve a balance between flat and three-dimensional forms while maintaining the essential mood of the image. 

Untitled XV (Bethlehem)

monotype, 17x24 in

Untitled XV (Bethlehem) - detail