52 Weeks Exhibition, 22March-10Apr, Devonport

Three printmakers, Susan Hurrell-Fieldes, Celia Walker and Susanne Khouri, 

have embarked on a project called 52 Weeks (A Year in the Life of Three Printmakers) 

marking the passage of a year by each making one printed work 15x15cm per week,
beginning in March 2013.

The exhibition is on display at Depot Artspace in Devonport from 22 March - 10 April,

with the opening this Saturday at 2pm. Stop in and have a look!

As the year progressed, a variety of printmaking methodologies were used 

to make personal marks and explorations, record events and places, 

make visual notations of the passing weeks. 

Three very different approaches demonstrate the various ways the artists use in their mark-making. 

Each artist has chosen and utilized strategies that best express their personal intentions and working styles.

Although primarily abstract, Susan Hurrell-Fieldes’ work evokes themes of disintegration, instability and loss. Celia Walker’s interest in landscape and memory is a constant thread 

through works which register personal travels and cartographic histories. 

Susanne Khouri focuses on more personal themes concerning family and relationships across generations, weaving into her work the connection with her young granddaughter.

The common thread between the artists is a love of printmaking as an art form.

Large Printmaking Press for Sale

I'm often asked if I know of any large etching presses for sale.

So thought I'd pass on details for this one that Felicity West is selling...

Measurements:

BED: 1655mm x 832mm (33 x 65 inches) - thickness of bed 19mm 

ROLLER: width of roller 830mm - cicumference 655mm - diameter 215mm

Height of press from floor to bed 915mm.

It was custom made for her, and only she has used it - asking $8000.

 

Thermochromic Ink Workshop, 10-11Apr, Auckland

 I'm looking forward to this ‘Designing Dynamic Surface Patterns’ workshop

(a practice-based workshop experimenting with screenprinting thermochromic inks)

The workshop will be held at AUT on 10-11 April,

taught by Marjan Kooroshnia from the Swedish School of Textiles   

Places are still available if you want to come too!

 Fees:  $460 

A limited number of discounted places are also available for this workshop for full-time students: $175

More info and registration at www.shapeshifting.aut.ac.nz

Monotype & Monoprint

Over the next few weeks I've got a few monotype / monoprint workshops to teach.

Students usually love enjoy these sessions, as they can mass-produce prints,

and have a lot of fun experimenting with the variety of processes.

A few years ago I thought the terms monoprint and monotype were the same thing.

Although the process is exactly the same, there is a distinction between the two terms:

Monotypes are when the artist works on a clean and un-etched plate.

Such as these examples which demonstrate the 'additive' process:

Anna Nelson
Monoprint

Stanley Palmer, Memories of Matauri - Far off Motu Huia I, 2012
transfer painting - monoprint, 46x94cm

Or by 'subtractive' methods - removing ink from an inked up plate...

Sophie Victoria Elliott, monoprint, 2011

Thomas Shahan, monoprint self portrait

Duncan Pepe Long, Monotype, 2013

Monoprints are defined by the inclusion of a pattern or part of an image which is repeated in each print.

Laura Berman, Umbrahome DL12,  2011
Relief Monoprint (inking pre-cut shapes)

See how these line monoprints are a repeated image with different colour combinations:

Dana McClure, Line Series 15
Monoprints

Artists may use plates etched with an outline or complete image,

using monotype processes to add or subtract ink for painterly effect.

This example below from Beth Charles has an etched silhouette with the monoprinted sky:

Beth Charles, Epicentre, 2009
Monoprint, collage and stitch on paper, 59x64cmm. 
(Finalist in the New Zealand Painting and Printmaking Award, 2010)

After demonstrating the basics of additive and subtractive methods,

then you can explore alternative techniques such as using  stencils & masks (eg cut or torn paper),

then try inking up textures such as mull, lace or leaves as the repeated element or pattern.

Naz Rahbar, monoprint

Susan Hurrell-Fieldes, Layers of Her 1
monoprint

Rosemary Mortimer, Paper On Paper: A Dialogue (Blue Version)
Offset surface print

Margaret Briggs
Monoprint

Finally, you can dust an inked-up plate with talcum powder

and use it to draw marks from the reverse of the paper (such as these tracing transfers).

You can also print the negative left on the plate after tracing:

Madeline Roseske, monoprint (positive & negative)

Sianuska (Etsy), Trike Print
Monoprint tracks with screenprint bike

Here is a great video from Double Elephant Print Workshop (UK)
showing the monoprint process:

I hope this inspires you to have a bit of fun with monotype & monoprint techniques for yourself. 

If you have any favourite monoprint artist, add a comment below (with artist's website if possible).