Contact PAWA
Email: [email protected]
Printmakers Association of WA
P.O. Box 6 Nedlands 6909
Studio: Tresillian Arts Centre,
21 Tyrell St, Nedlands 6009 WA
contact Sue at 0413867367
July 2016 Newsletter
Pg 1 & 2 : Get your entry forms into the 2016 PAWA Printmedia
Awards at Moores Gallery by July 29th. Press Hire: contact
Pg 3 & 4 : Collaboration Project #1 and #2 details
[email protected] or phone
: 0400-218-491#
$15 half day / $25 full day
(first time users to the studio will
need to have a 10 minute
orientation on site before use) #
Pg 5: PAWA Website upgrade……..Promote your Printmaking
practice. Send in your images and links
Pg 6 & 7 : Art and About: Exhibitions around Perth
Pg 8 : Exception prizes for the Kalgoorlie Are Awards
Pg 9, 10 &11 : Glossary of Print Making Terms
Committee 2016
President- Sue Marshall
Vice President- Liz Morrison
Treasurers-: James & Pamela
Larkins
Secretary- Hilda Klap
Minutes- Joyce Syms
Office Co-ordinator- Jean
Aitken
General CommitteeRosemary Mostyn, Marcus
Napieraj, Shelley Cowper and
Bethwyn Porter
Art Consultant- Dallas Perry
Newsletters can also be viewed
on our website wwwpawa.org.au
All newsletter contributions
please send to editor at
[email protected] #
SKILL SHARE SATURDAY AUGUST 6th 10am
Come along to our next Skill Share Session on Saturday
August 6th from 10 am till 4 pm. ( 2 hrs longer ). New
participants are welcome to join in with Collaboration Project
# 1 (see page 6 for details) We will also be discussing
installation of our Collaboration project #2. These projects
will be exhibited at the Moores Gallery at the Print Media
Awards August 19th.
Entries close 5pm Friday July 29th for the
PAWA 2016 Contemporary Print Media
Awards
Open to all Western Australian artists .
(Details next page)
Download a form at www.pawa.org.au
Please note our new email address
[email protected]
PAWA activities can also be viewed on Facebook#
1
You are invited to enter …………………… 2016 CONTEMPORARY PRINT MEDIA AWARDS EXHIBITION
The Printmakers Association of WA (PAWA) will hold its biennial
Contemporary Print Media Awards Exhibition for 2016 at the Moores Building
Contemporary Art Gallery in Fremantle from 19 – 28 August.
!
The Exhibition opens at 6 till 8pm on Friday 19th August.
Open to all West Australian artists, this well established sponsored exhibition
has now been held for over 26 years and is set to present an inspiring and
broad foray into the field of contemporary print media and fine art
printmaking.
It will showcase a diverse selection of prints reflecting the aims of PAWA to
not only embrace new technologies but retain the highly valued skills of
traditional printmaking techniques.
!
Entries close 4pm Friday July 29th 2016
Entry Forms can be downloaded from www.pawa.org.au
enquiries: Hilda 0400249875 or Sue 0413867367
2
!
Moores Collaborative Project # 1
More Members are invited to participate in Collaboration Project #1 at our next Skill Sharing
Session on Sat August 6th 10am. #
These prints will be installed along with the prints already completed from ten PAWA members who worked on
Collaborative Project # 1 on May 28th. Materials will be supplied. Email sue at [email protected] to
confirm your interest.#
The reduction wood-cut installation will be on display at the Print Media Awards at Moores Gallery in August.
The intention of this work is to lead people along the walls of the upstairs spaces and into other gallery rooms. #
Project # 1 will not be part of the prints for judging, but as a display only. It will be available to purchase in
pieces and proceeds go towards the PAWA studio supplies.
3
Moores Exhibition Collaborative Project #2
(Above left) : The original industrial style image
(Above right): Monique’s “puzzle” piece and her interpretation using Collagraph and Drypoint technique. Her
puzzle piece was the second row and second along. It is a bleed print on 33 x 33cm Fabriano Rosapina paper
(supplied)
Our Collaboration Project #2 for the Print Media Exhibition image to work with is above. It has been cut
into 20 squares. (Thankyou Monique for organising this) 3 Kits are left …….not too late to participate.
Fourteen PAWA Members have collected a kit. Monique, Shelley and I have 2 pieces of “puzzle” each, as we have elected
to do the blank sky as well . Each kit contains a piece of the “puzzle”, a 33cm x 33cm sized Fabriano Rosapina paper and
instructions.#
It will be a bleed print on a plate size larger than the paper. The challenge is to reproduce your puzzle piece into a print
technique of your choice; using black ink. The puzzle piece is already reversed, so that your printed image will look like
the above industrial image.#
Your print should be ready to bring for discussion on August 6th at Saturday Skill Sharing morning. (or arrange to have it
there for other participants to arrange and discuss) Spare paper upon request.#
We will do another print run of the image using a different colour at the August 6th Skill Sharing morning between 10
am and 4pm. (Bring your print plate. Or arrange to have your print plate at Skill Sharing for another to work on. Paper &
ink supplied) There are only 3 kits left for Project #2. Kits are available from the PAWA studio#
Re: Skill Share August 6th: Other PAWA members who are not part of Collaboration project #2 will work on Project #1
(reduction cut on mdf.......wood, tools and paper supplied) See June newsletter for info and images of Collaboration
Project #1#
Resource fee for August 6th Skill Share is $20 as it includes quality paper and inks. (it is also 2 hours longer) 10am till
4pm.#
Projects #1 and #2 will not be part of the awards, but will be exhibited and available for sale at the Moores Gallery.
(All proceeds of the projects will go towards supplies for your PAWA studio) #
Email me if you need some more information Sue at [email protected] #
4
PAWA Website Upgrade : Send in your images, info & links
A Message from your PAWA Webmaster Marcus Napieraj
Hi Printmakers,
We are in the process of renovating our website to make it more interesting and user
friendly. A new part of the website will feature a section on learning about
printmaking. So if you're interested in sharing some of your skills and would like to
write (or have written) an article, please get in touch.
If you don't like writing so much, but want to share some of your experience
regardless, one of our volunteer writers can help you put something together.
On a final note, we would like to have more of our members feature on the members
page. The process is simple;
Write a few paragraphs about what inspires you.
Please include any links to social media or your own website.
Gather up to 5 images of your artwork in JPG format.
Send it to us and we will make you a page. Thanks!
email Marcus at [email protected]
A few examples of
members images
already on the
PAWA website #
Thankyou Shana
James, Sandra Hall,
Marcus Napieraj,
Dallas Perry and
Sue Marshall for
your contributions.
5
SALTWATER COUNTRY :
Bunbury Regional Art Galleries
Artist Welcome - Wine and Cheese Event Friday 22nd July 6pm #
Bunbury Regional Art Galleries 64 Wittenoom St Bunbury 9792 7323#
[email protected] BRAG is open 10am-4pm
7 days a week#
Saltwater Country features works by 16 of Queensland's most celebrated Indigenous artists. Curated
by Michael Aird and Virginia Rigney, the exhibition offers audiences a unique insight into the
historical, environmental and personal concerns of the artists and their strong cultural connections to
‘their’ saltwater country - Queensland's coast, sand and sea.#
For this event, artist Ryan Presley will be travelling from his home in Brisbane, where he is currently
completing a Doctor of Philosophy with an Australian Postgraduate Award Scholarship through
Queensland College of Art. Saltwater Country features Presley's evocative print Good Cop, Bad Cop.#
Exhibition runs 18 June - 31 July#
Ryan Presley - Artist Talk Saturday 23 July, 11am#
Ryan Presley's work in Saltwater Country plays upon the good cop/bad cop cliche that has contributed
so much to our enjoyment of certain film and television shows. In his woodcuts, he highlights the
importance of ensuring that the protectors of justice do not escape scrutiny themselves, noting that
over-confident faith in a flawed system creates a safe haven for the continuation of injustice.#
Image left: #
Ryan Presley ‘Good Co-op, Bad Cop’
2011, silk cut linoleum print on
Mangani paper
6
PICA
Hatched 2016
JANE PALMER
Adelaide College of the Arts#
From
‘Ad Libitum’ 2015#
Etching, engraving with aquatint,
monoprinting, pencil, watercolour on
paper with sound installation#
400 x 250 x 30 cm#
Photo: Mu Young#
Calls for Entries
Between the Sheets, the 2017 Artists’ Books Exhibition to be held at the Gallery Central, Perth, is open to
any artists working in the field of artist books.#
Venue: Gallery Central, Perth, Western Australia#
Exhibition Dates: 18 March – 8 April 2017#
Gallery East invites entries in the 2017 Artists’ Book Exhibition. Selected work will be exhibited at Central
Gallery, the North Metropolitan TAFE, Aberdeen Street, Perth, Western Australia from
18 March to 8 April 2017. The 2017 exhibition will be shown in full on Gallery East’s website and be
accompanied by an illustrated catalogue.#
Official Opening: 6pm Friday 17 March 2017#
Entries to arrive by 25 November 2016#
Successful entries will be notified by 9 December 2016
Selected work to be delivered by 17 February 2017#
!
For full details access: http://www.galleryeast.com.au/general/books2017/main.htm
Image above is Kathy Aspinall’s ‘Charlottes Rose #2’ from the successful
7
CITY of KALGOORLIE ART AWARDS : www.ckb.wa.gov.au
Best Overall Award $10,000 All artwork entered and exhibited will be judged in this
category.
Winners of the 'Best of' awards will have the opportunity to win the Best Overall Award.
The Best Overall Award winner will have the opportunity to faciliate the Artist in
Residency Program.
Best Painting in Show $4,000 : A painting must be an original work. It may be painted in
oil, acrylic, watercolour, pastel or mixed media.
Best Print in Show $4,000: There is no limitation for technique and the competition is
open to both traditional contemporary processes or a blending of them. Print includes a
work using any kind of printing process including photography, and digital manipulation of
an image. Traditional approaches such as engraving, woodcuts, linocuts, lithographs and
screen prints are permitted.
Best 3D in Show $4,000: This category encourages three dimensional arts. Artists and
makers working in sculpture, craft or within a three-dimensional focused practice are
invited to enter.
Best Artwork by a Goldfields Artist $4,000: Open to artists currently residing in the
Goldfields.
First Nations Art Award $4,000: Open to Aboriginal and/or Torres Strait Islander artists.
Emerging Young Artist totalling $2,500: Open to artists 12 -18 years. Divided into 1st, 2nd,
3rd prize.
Peoples Choice $2000: The People’s Choice will be decided by the counting of completed
voting forms at the conclusion of the exhibition
Highly Commended Awards totalling $1000
8
GLOSSARY OF PRINTMAKING TERMS
( http://portjacksonpress.com.au/printmaking )#
A la Poupee’: (French: “with a dolly”) The inking of an intaglio plate with several different colours, using a
separate brush, cotton bud, pad or rolled felt dolly for each colour.#
Aquatint: An intaglio process used to create areas of tone. Fine rosin dust is sprinkled over a plate and fused
to it with heat prior to biting with acid. A less toxic method of achieving tone is to spray with enamel paint.#
Artist’s Proof (A/P): Approximately 10% of the total number of prints in an edition remain the property of
the artist (unless otherwise assigned), and are called Artist’s Proofs. This percentage may be higher for some
editions.#
Archival Quality: A term used to denote materials having a high degree of permanence.#
Biting: The action of acid on a metal plate to incise an image. Also called etching.#
Bleed Print: A print where the image is printed up to the edge of the paper.#
Blind Emboss: An embossed image in paper – not inked.#
Bon a tirer (BAT): French for “Good to Pull” Identifies a proof which will serve as the standard to be
maintained during the printing of an edition. One that meets the aesthetic and technical standards of the
artist. Also written as “OK” or “Ready to Print” (RTP).#
Burnish: To reduce the depth of any detail in an intaglio plate by heavy polishing, either with a steel or agate
burnisher.#
Catalogue Raissonne: A complete list of prints by an artist. It includes titles, dates, editions and condition of
all known prints – usually a posthumous publication.#
Chiaroscuro: Italian term meaning extreme gradations from light to dark.#
Chine Colle: The process for simultaneously printing a thin sheet of sized Oriental paper and adhering it to
a thicker backing sheet using the pressure of the printing process. Can be achieved by planographic or
intaglio printing.#
Chop mark: A small, embossed mark made in the margin of a print that identifies the printer or publisher.#
Collagraph: A printing process by which textured materials are used to create a printable plate. The plate is
usually built up by gluing a variety of low relief textural materials – anything that would hold ink—to a plate.
Collagraph plates are typically constructed of wood, cardboard or fabric, although in some cases a base
material is not necessary. The plate may be comprised of collaged materials, or a single texture. The plate is
then inked and printed in relief or intaglio on an etching press.#
Colour Proof (C/P) : During the proofing stages of a print, prior to the editioning, the artist may try out
inking-up in different colours to see which best expresses the image prior to signing off the BAT.#
Composite Print: Any print combining any number of techniques in the one work.#
Cyanoype: Known as a blueprint cyanotype was a process discovered with the advent of photography. The
print is Prussian blue in colour and made by exposing an object or a negative in contact with prepared paper
to the sun or an ultra violet light source. The paper is then simply washed under running water and allowed
to dry.#
Digital prints: Images printed using current computer printing technology. Images, either all or in part, are
9
Digital prints: Images printed using current computer printing technology. Images, either all or in part,
are created on the computer and stored as a file. The file becomes the printing matrix, equivalent to a
wood block, stone or plate. Images are manipulated by special computer software and then printed onto
paper or a similar surface. The term “giclée” is often used to refer to digital reproduction prints.#
Drypoint: An intaglio technique where lines are scratched directly into the plate using a sharp steel
needle or diamond point without the use of acid. The burr thrown up by the needle gives the line a
feathered appearance. With big editions this “burr” usually wears off which is why knowledgeable
collectors want their drypoints low in the edition number.#
Edition: The total number of prints pulled from the plate or stone, numbered and signed by the artist, not
counting artist’s proofs, colour proofs, trial proofs and other working proofs outside the edition.#
Edition Variable or Variée (E/V): Refers to an edition that uses a common plate throughout, but introduces
additional elements (such as a hand-painted background) that are unique to each individual print in the
edition.#
Engraving : lines cut directly into a plate using a V shaped tool called a burin. Similar to drypoint but
minus the burr. A technique also used by gold and silversmiths to decorate metals.#
Emboss: Raised pattern impressed into a sheet of paper.#
Etching: An intaglio process resulting from the action of an etchant, formerly an acid, upon a metal plate,
where an image has been drawn through an etchant-resistant ground on the surface of the plate. The term
also refers to the print pulled from such a plate. Safer etchants are used in the present day, for example,
copper sulphate solution or Ferric Chloride.#
Foxing: Brown stains appearing on sheets of paper, caused by chemical action upon iron salts present in
the paper.#
Ghost Print: A print taken from the plate as a second print without re-inking.#
Giclée Print: Like a ‘pigment print’, refers to a print made from a digital file using an inkjet printer. In
both processes the file assumes the role of the printing plate, from which editioned prints are made. In
this process, ink is laid down with pinpoint precision by an archival-grade inkjet printer directly onto fine
art paper. While ‘Giclée printing’ and ‘pigment printing’ are largely interchangeable terms, ‘Giclee printing’
is a term which arose at the advent of digital printmaking, referring to fine art prints created on IRIS
printers that were prevalent in the 1980s. The term is now used to describe printmaking processes on any
archival grade inkjet printer.#
G.S.M: The weight of one square metre of a given paper expressed in grams. Although a heavier paper is
usually thicker than a lighter one, the weight is not directly related to the thickness of the paper, but to
the density of the paper.#
Intaglio: An image cut or etched into a plate.#
Laser Printing: Print from the output from a computer. The pigment depositing process is similar to that
of dry photocopiers.#
Linocut: A relief print taken from a linoleum block.#
Lithography: The process of printing from a flat surface, based upon the antipathy of oil and water.#
Mezzotint: An intaglio technique whereby a plate that has been previously prepared to print as rich
uniform black is gradually scrapped and burnished back to form the desired image. The plate is prepared
10
using a mezzotint rocker – a fine-toothed tool that is rocked repeatedly over the plate to produce a dense
evenly burred surface.#
Mokulito: An alternative Japanese printmaking process based upon the principles of lithography. It replaces the
traditional Bavarian slate used in lithography with a plate of plywood, which each possess the same
printmaking qualities.#
Monoprint: Like a monotype, a plate is prepared in a painterly fashion using any printmaking technique in
singularity or combination. However, unlike monotypes, “monoprint” plates possess some form of basic matrix
that allows them to be reproduced. However, due to the nature of the monoprint plate, each print produced in
a monoprint edition may be varied.#
Monotype: Any form of print utilising any printmaking technique, or combination of techniques in a painterly
fashion – where there exists only a single proof. In layman’s terms, a monoprint may be regarded as a form of
printed painting where the plate is only usable for a single print.#
Offset: To transfer wet ink from one surface to another. The term offset printing generally refers to
commercial lithographic processes. The printed image reads the same as the drawing on the plate.#
Original Print : An image produced from a stone, plate, block or such-like, that has been directly worked on by
an artist. It is the visual expression of an idea where the artist chooses a printmaking process as the best
expression of that idea as opposed to other fine art processes such as painting, pastel, sculpture etc. Such a
choice does not differ from the decision to work in oil or another medium. The only difference being the
possibility of producing a number of identical images with each impression being an original work of art by the
artist.#
Pigment Print: Like a ‘Giclée print’, refers to a print made from a digital file using an inkjet printer. In both
processes the file assumes the role of the printing plate, from which editioned prints are made. In this process,
ink is laid down with pinpoint precision by an archival-grade inkjet printer directly onto fine art paper. While
‘Giclée printing’ and ‘pigment printing’ are largely interchangeable terms, ‘pigment printing’ is most commonly
used in contemporary printmaking as it is more suggestive of the evolved inkjet printing technologies that have
arose since the advent of ‘Giclée printing’ in the 1980s.#
Pochoir: French term for stencil.
Printer’s Proof (P/P): A proof reserved for the printer.#
Relief Printing: Printing from an ink-raised surface.#
Screen-printing: A stencil printing technique where a stencil is supported by a tightly stretched fine woven silk
or synthetic mesh. Ink is forced through the prepared screen to create a printed image of an individual stencil.
Often screen-prints are created by layering a number different stencils. Screen printing may also utilise
chemical processes and finishing techniques to alter the screen and produce a wide variety of gradients and
effects. (Silk-screen: The frame and stretched mesh used in screen printing. In contemporary screen printing
silk is often substituted with synthetic meshes.)#
Serigraphy: A term originated by Carl Zigrosser to indicate the use of screen-printing as a fine arts process, as
distinct from commercial printing.#
Solar Plate: A plate of thin steel with a surface coating of light sensitive photopolymer that can be used for
relief and intaglio printmaking. UV light hardens the areas not blocked out by carbon (the artwork) and these
unexposed areas wash out with tap water to reveal the etched surface.#
Trial Proof (T/P): A proof pulled to determine the appearance of the image.#
Unique Sate: Also known as a ‘unique print’. Refers to prints that are produced as singular entities, rather than
a part of an edition.#
Woodcut: A relief printing process where the image is cut on the plank side of the wood.#
Wood Engraving: A relief printing process where the image is cut into the end grain of the wood.#
11