[email protected]
www.WomenPrintmakers.com
February 2013
Printers’ Press
February Featured Artist: Annalise Natasha Gratovich
Women Printmakers of Austin
5114 Balcones Woods Dr
Suite 307 PMB 350
Austin, TX 78759
Carol Hayman - FolioSoup
http://www.foliosoup.com/viewArtist.asp?u=CarolHayman
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Folio Soup
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Left: Little Beasties I, copper plate
etching with aquatint, engraving,
gouache, 6 x 8”
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Get your very own website featuring an art portfolio, artist statement,
resume builder, links to your Facebook, Twitter, LinkedIn, Google+,
Pinterest, Blogger, and Etsy store pages, and allow users to contact you
directly without showing your email address. Upgrade to the Deluxe or
Unlimited account to host your own pages. You can even point your own
domain name!
Portfolio Features Include: Bulk upload (drag and drop) images for
quick portfolio creation; Each piece can have up to 5 images; Create
thumbnails right on the screen; Manage series of works easily; Print your
own Title Tags; View reporting for click through activity.
Folio Soup was created by WPA’s director and webmaster Ashley
Salinas. For more information, visit www.foliosoup.com.
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I am a Texas hill country girl,
born and raised. I am a nerdy
and bookish girl, yet a brave
outdoorsy adventurer ready to
meet any friend or foe.
I am a printmaker to the pit
of my heart; printmaking is
my soul mate, the love of my
life. I work primarily in intaglio,
serigraphy, and relief, and have
been exploring letterpress and
limited edition books as well.
Having proudly graduated
from drawing the heart clouds
and unicorns of my childhood,
I now create my own fantastical
characters who live in enchanted
environments. My characters
provide a way for me, when
I’m feeling daydreamy and
introverted, to explore the
bittersweet moments of human
interaction as well as my own
inner confusions. They are the
protagonists of my stories who I
carefully wrap within worlds of
magical realism.
I have exhibited extensively in
the central Texas area, as well as
in Chicago and New Orleans. I
have work in private collections
across the country, and in the
permanent collections of the
University of Texas at Austin
and Austin Community College.
I have always wanted to
build a hot rod, and I still
dream about waking up to find
unicorns in my yard. You can
see more of my work at www.
annalisegratovich.com
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Printing with a Pasta Machine by Deborah McLouth
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Carol Hayman’s Folio Soup Portfolio
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Like the blender and toaster
oven, the pasta machine has
moved into the studio. Not only
can the machine condition clay
but it can also print an etching.
An etching press uses pressure
to transfer images from a plate to
paper. Access to an etching press
can be limited because they are big
and heavy. With a pasta machine,
you can experience printing with
a press at your kitchen table. The
machine has two rollers, similar to
an etching press, and, with the use
of felt blankets, a lot of pressure
can be evenly applied to a small
plate. Solar plates, intaglios, low
relief collagraphs and monotypes
can all be printed using a pasta
machine as long as the plate does
not exceed the maximum size of 3
x 5 x .06 inches.
I use the pasta machine to make
monoprints in my home studio.
I can try out new ideas, inks, and
color schemes before renting time
on an etching press and using
larger paper.
My basic toolbox:
l pasta machine
l 3 - 4 blankets, pieces of felt cut
to 5 x 12 inches
l newsprint, 5 x 12 inches, used to
keep ink off the blankets
l acrylic plastic plates, 3 x 5 x .06
inches
l texture plates
l printing paper
l ink or paint
Pasta machines vary in price
and quality. They are easy to find
in craft stores, yard sales and online. I use a Marcato Atlas which
I found on Amazon.com and it is
the queen bee for me.
Acrylic plastic plates, more
commonly known by the brand
name Plexiglas, can be cut to size
by the supplier. I get my acrylic
plates from Regal Plastics. It can
also be cut by scoring it with a
sharp blade and bending it on the
edge of a table.
Texture plates can
be almost anything
that can be inked and
fits the size. I used
low-relief collagraphs,
grasscloth wallpaper,
fabric and netting.
Printing paper can
be costly. However,
the typical sheet of
printing paper, 22 x 30
inches, can be cut or torn in 42 (3
x 5 inches) pieces so it becomes
feasible to use good quality
printing papers. My favorites for
printing dry are Arches 88 and
Magnani Pescia. When printing
with wet paper, I use Somerset
Velvet printmaking papers.
A variety of inks and paint
can be used to make prints. Start
with what is familiar and plan to
explore other media and papers.
Before laying out the ink,
preview the process and check the
pressure by running a blank plate
through the machine.
© 2013 Women Printmakers of Austin • www.womenprintmakers.com
5114 Balcones Woods Dr, Suite 307 PMB 350 • Austin, TX 78759
This project is funded and supported in part by the City of Austin through the Cultural Arts Division.
Here is the process:
1. Clamp the machine to a table.
Most pasta machines come with
one c-clamp that works well but
many table tops are too thick. I
prefer to clamp the machine at
the corner of the table using two
2 inch spring clamps from the
hardware store.
2. Open the machine setting to
the widest option.
3. Make a printing “sandwich”
starting with one piece of felt and
one piece of newsprint (to catch
stray ink).
Continued on next page
2012’s AMSers
Get your art marketing on by joining WPA’s splinter group Art
Marketing Superstars (AMS). AMS meets monthly and they are
accepting new members that want to get serious about getting the
word out about their work. The group is reading Allyson Stanfield’s
book I’d Rather be in the Studio and their first meeting of 2013 is on
Feb. 21 at Central Market on N. Lamar. Not only will you need to
read the book, you’ll need to do homework assignments. Yep, there’s
homework. But the serious players that were part of the group last
year swear by the guidelines that are in the book and outlined in
the salon worksheets. Email Cathy Savage at csavage@savageartist.
com for more information. AMSers plan to have the first meeting
be a working meeting, so if you’re simply curious but not ready to
commit, feel free to come and listen and you can always decide to
participate the next go around. The first meeting will focus on goal
setting.
Art Marketing Superstars
Printing with a Pasta Machine Continued from Front Page
4. Fold the short sides of the felt
and newsprint together to mark
the middle. Place the acrylic plate,
with printing paper on top, at the
center. Fold the newsprint and felt
over the plate.
5. One long edge of the plate
should touch the fold. Insert this
edge of the sandwich into the
machine first. Slowly turn the
handle while pressing the opposite
edge the plate inside the sandwich.
6. Once the press has grabbed
the plate, use one hand under the
press to pull or push the plate
forward to help it clear the base of
the machine.
If there is a need to increase the
pressure, add additional blankets
or newsprint instead of changing
the machine settings.
Here are two techniques
using a pressed leaf to get you
started:
Portfolio Water-soluble Oil Pastels and
wet paper
Prepare a place to soak and blot
the pre-cut paper. I use a plastic
Member News
shoe box and clean hand towels.
The paper should soak in water
about 5 - 10 minutes before
using.
Rub the pastels directly on the
leaves. Use finger tips to blend
the colors and smooth out any
pastels crumbs. Prepare texture
plates in a similar manner.
Place the pastel-colored leaves
on a plate in the “sandwich,”
cover with the damp printing
paper, fold and run it all through
the machine.
Akua intaglio ink and dry paper
I use this technique for
printing large and small. I like
the Akua intaglio ink because it
is water-soluble, easy to use and
a little goes a long way. It comes
in a variety of colors, intense
to transparent, and there are
modifiers available to increase
transparency or to change the
consistency. It is also very easy to
clean up with soapy water.
With a brayer, roll out ink on
a palette. Use the same brayer
to roll an even layer of ink on a
clean acrylic plate. Place a leaf on
the plate in the “sandwich,” cover
with dry printing paper, fold and
run it all through the machine.
The first print will be a papercolored silhouette of the leaf
shape.
Remove the leaf and on the
plate there will be a pressure print
of the details. Add a new piece
of paper on top of this plate and
run it through the machine for a
second print. This second print
is often called the ghost. The leaf
now has ink on one side and can
now be used in another print.
The fun really begins when
you use multiple plates to create a
print, layering colors and textures.
I rarely clean plates during a
printing session and combine
ghosts prints with silhouettes,
texture plates and inked leaves.
Veronica Ceci is in a show opening
March 15th which includes work by Curlee
Raven Holton, and Francine Affourtit. It is
sponsored by the Experimental Printmaking
Institute (EPI) at Lafayette College in Easton,
PA and it’s titled Room in Relief. After the
show leaves The Grossman Gallery, on the
college campus, it will travel different venues
for the next two years. The emphasis is on
relief prints but other forms of printmaking
may be included. The Grossman Gallery will
be covered from floor to ceiling with work,
which should make for a very striking show.
Veronica has made a number of large scale
prints and will be starting on a very large, 98”x
37’ piece in just a few weeks. The show opens
March 15th and will run until April 27th.
Veronica will also have two pieces in a
show at her BA alma mater, The Milwaukee
Institute of Art and Design, during Southern
Graphics in March.
Janet Badger won First Prize at “Nexus in
Texas” with Marsta, and then in October won
the “Michael Lasuchin Memorial Award” at
the American Color Print Society’s 47th Fall
Exhibition (Philadelphia) with Detroit.
Both prints, shown below, are copper-plate
intaglios (mezzotint rocker, roulette, scraper,
burnisher) printed on paper Janet marbled
herself with the Japanese technique “sumi
nagashi.” For Detroit, Janet marbled some pink
Japanese paper and then had to chine colle’
that onto Canson Edition. For Marsta she
marbled the Canson mi Teintes and printed
on that. Janet learned how to marble from
Nancy Luton at a PrintMatters meeting almost
two years ago, and has been fascinated by the
juxtaposition of tight and real with flowing
and abstract ever since.
Have fun!
Deborah McLouth
Rippling Waters Studio
[email protected]
Veronica Ceci pulling a print at EPI
Upcoming Workshops
Mar 9, 2013, 9:30 AM-4:30 PM Dry Pigment Transfer Technique: Monoprints Incorporating Drawing Media
The Dry Pigment Transfer method incorporates both the media and the aesthetic of marks used in direct drawing
using the monoprint approach to printmaking. The print begins as a drawing on tracing paper with graphite, charcoal,
soft pastels etc. which is then transferred to a plate and treated so that it can be printed in conjunction with many other
techniques, including adding color films with a roller, multi-color viscosity, chine collé, etc.
Because the drawn marks are “offset” on to the plate, the printed image appears in its initial orientation, eliminating
the need to reverse the composition when making the original drawing. Additionally, other drawn images, as well as the
pigment left on the original drawing after the transfer,can be treated and printed in a collage approach. More often than
not, the plate with the transferred information may be reworked and printed again, allowing for the serial development
of a group of related works. This technique, when mastered, can yield images of elaborate design and vibrant color but
is equally suited for printmakers working in black and white. This technique and clean-up methods are non toxic.
Cost: $175 per student, Instructor: Suzanne Manns, faculty of the Glassell School of Art, Museum of Fine Arts,
Houston
Apr 5-7, 2013: Fri 6-9 PM, Sat 8:30 AM-9 PM, Sun 8:30 AM-4 PM
Gelatin Printmaking with Linda Germain
Gelatin plate monotypes are printmaking without a press at its best. Students will begin by making the gelatin
printing plate and the next day will be guided by a process Germain calls Yoga Printmaking. The goal of the process
it to build some muscle memory and automatically learn the steps to gelatin print making, plus experiment with
mark making tools and masking stencils to become familiar with the amazing qualities of the gelatin plate. Students
will learn insider tricks on how to get the most from their gelatin plate.
Cost: $210 per student if registered before March 1st; $245 on or after March 1st, Instructor: Linda Germain
Janet Badger’s Detroit (L) and Marsta (R),
which won awards at ACPS and Nexus in Texas,
respectively
Valentine Trading Cards
WPA’s annual Valentine Trade is a
great time to play and collect a small
edition of trading card prints. The
print size is small and you are allowed
to photocopy to create multiples,
though many participants create
original prints. No fee to participate,
just have fun!
Details: 2.5 x 3.5” size, front and
back both need an image or design,
artist signs back with name and edition
number (1/11, 2/11...), March meeting
is the due date with expression of
2009 V-card, front and
interest due 3/1, any type of media
allowed--the only stipulation is that the back, by Sylvia Betts
cards are made with care, any type of
paper can be used as long as it’s sturdy
(if you plan on using a laser or photo copy and can’t get that on
thick paper, adhere your copy onto thicker paper), edition size is
11. Sound good? Sign up on the WPA website. Participants need to
Eleanor Droll will have a closing party for
her show at Texas French Bread (29th & Rio
Grande) on Sunday, February 10th from 3-5.
There’ll be a jazz trio performing (Blackbird
3) and any sales made will benefit Generous
Art non-profits.
Cathy Savage and Lynne Huber are
exhibiting work at Davis & Blevins Gallery in
St. Jo, Texas. The gallery space tripled through
a recent and extensive renovation, and the
gallery is commemorating the event with a
member exhibition which opens February 16.
Carol McCall has four collages hanging in
the gallery at Hill Country Bible Church on
620 North in Austin. It is a retrospective show
honoring three artists who have been in the
PACT ministry there for many years. Carol’s
collages were re-worked for the show, having
been originally made during seminary in 2006.
Teresa Gómez-Martorell is currently
exhibiting work through February 18, at
Tarrant County College in Fort Worth,
where she is also their Spring 2012 Artist-inResidence.
Marisa Boullosa is currently exhibiting
work through March 3, at The Contemporary
Art Gallery in Opole, Poland. The exhibit
is part of the International Triennial of
Printmaking.
Francesca Samsel is speaking at the 3rd
Land Heritage Institute’s Art-Sci Symposium
in San Antonio on March 23.
attend the March meeting (or mail cards prior to meeting to Angela
Hayes) to exchange and show their cards.
For more information, email Angela at [email protected].
Exhibition Opportunities
PrintMatters invites you to PrintTX, a juried exhibition of
contemporary Texas printmaking to be held at the Museum of
Printing History during PrintHouston 2013. PrintMatters is interested
in work that presents printmaking as a vital and adaptable medium.
In addition to lithography, relief, intaglio, monoprint/monotype, and
serigraphy, they welcome animation, installations, ceramics, sculpture,
mixed media, video, and artists’ books. PrintMatters only asks that
the primary technique(s) used be one of those listed above. For more
information, visit their website, www.printmattershouston.org. April 2
is the postmark deadline for entries.
Bay6 Gallery & Studios (WPA member Catherine Small’s studio) is
in the midst of planning a juried exhibition/fundraiser this Spring to
benefit Austin Pets Alive. More information coming soon.