29 June 2013

Woodcut Workshop, 4Aug, Wellington

There will be a Woodcut Printmaking workshop with Vincent Drane,
9.30am-4pm on Sunday 4 August at Solander Gallery in Wellington.

Vincent Drane, Breaker Bay, 2009
Wood Engraving, 15x19cm, edition of 25

  Solander Gallery Director and artist Vincent Drane will introduce woodcut relief printmaking 
using both simple mdf and woodgrain-textured blocks. 
Vincent will cover designing for a woodcut, design transfer onto the block 
and cutting techniques to produce bold and powerful prints. 
This workshop is suitable for complete beginners and those with some experience. 

Vincent Drane, Pukerangi Station Otago, 2010
Wood Engraving, 13x17cm, edition of 25

Workshops cost $140.00 including all materials and equipment you will need for the day. 
A deposit of $70.00 is required to secure your place 
and can be paid by direct deposit or in the gallery.

There are only 5 places available
Contact info@solandergallery.co.nz for more information and to confirm your place.

27 June 2013

Call for Applications: Printmaking Residency, Mexico, by 1 Sept

Printmaking Special Artist Residency at Arquetopia, Southern Mexico

ARQUETOPIA is a nonprofit foundation run entirely by artists,
 promoting development and social transformation through contemporary art 
with a non-traditional, culturally diverse and multidisciplinary approach.

The Printmaking Special Artist Residency offers important professional opportunities 
for emerging and mid-career national and international printmakers age 25 and over.

This residency is an autonomous Art Production residency for experienced printmakers.  
It offers the opportunity to work at a prominent printmaking museum and studio in Puebla 
or a professional printmaking studio in Oaxaca.  
The techniques offered are intaglio, linoleum, woodcut, polyester plate, silkscreen 
and the unique opportunity of working with a specific lithography stone from Mexico.  
Maximum dimensions of the lithography printing press are 27x19 inches 
and of the etching press are 60x35 inches.

• Selection decisions are based on artistic work submitted. 
The residency is for artists who want to advance their work.
• The residency pool is diverse in all aspects.
• The residency program is an opportunity for artists to pursue their own work, free of pressure
(especially work that in their particular circumstances would normally be difficult to produce)
• The creation of community among fellow artists and staff 
during the residency period is important.

Terms of 3-24 weeks.

Applications close 1 September 2013
For more information, click here for the Res Artis website

26 June 2013

Alphabet, 26June-13July, Auckland

ALPHABET is on at Seed Gallery in Newmarket, Auckland,
from 26 June to 13 July.
26 artists have each been asked to work with one large wooden letter of the alphabet.
Featuring work by these 26 artists from NZ and abroad:
Annie Sandano, Tracey Black, Mary McIntyre, Andrea Du Chatenier, 
Richard Freestone, Tabatha Forbes, Belinda Griffiths, Janna van Hasselt, 
Louise McRae, Jesse Watson, Kristin Perrett, Oliver Stretton-Pow, Chloe Marsters, 
Naomi Nakama, John Pusateri, Paddy O’Rourke, Mark Rayner, Peter Rive, 
Holly Shepheard, Rebecca Thomson, Margaret Silverwood, Veronika Maser, 
Sophie Watson, Alexander Bartleet, Kylie Rusk, Stafford Allpress.

Annie Sandano, Untitled, 2013

Tracey Black, Benediction, 2013
Engraving on paper on wood

John Pusateri, vOwl II, 2013
Digital print on wood

Rebecca Thomson, Dolls Clothes 50c, 2013
Collagraph on wood

ALPHABET will also include a special opportunity to introduce young people 
to contemporary art by literally putting it in their hands: 
the 26 pieces will be reproduced in the form of a boxed, 
limited edition deck of 52 memory cards that can also function as a “snap” or “go fish” deck. 
You can own the original A, B, C and for only $80, take home the entire alphabet deck.

Cool idea! 

24 June 2013

Carole Shepheard Floor Talk, Crossing Boundaries, 30 June, Auckland

Dr Carole Shepheard is one of the artists participating in the Crossing Boundaries exhibition. 
She will give a floor talk at 2pm on Sunday 30 June 
at NorthArt gallery in Northcote, Auckland.

Carole Shepheard, Proof of Intent, 2013
Collograph on paper, embossing, flocking, gold leaf,
 pins, constructed 3D objects in glass dome

Carole is greatly knowledgeable about printmaking
and is also hugely passionate about it too!

I strongly encourage you to come along to meet other printmakers
and to join in the discussion about the role of print in contemporary art
and extending the 'boundaries' surrounding print practice.
Please spread the word!!!

Here are a few other works from the show:

Kathy Boyle, Botanical
Relief etching, screen print, pyrography,
encaustic wax on harakeke paper, kozo paper, wire, polythene tubing

Jacqueline Aust, Repeated Mark Totems, 2013
Mixed media

Lynn Taylor, Bowls
Coiled paper strips from Cunningham's Textbook of Anatomy,
mixed media, paper pills
Gary Shinfield (AU), Shards I
Mixed media

Janet Parker-Smith (AU), Burrowing, 2013
Copper plate, print

21 June 2013

Call for Entries: Pacific Rim International Print Exhibition, by 22 July

2013 Pacific Rim International Print Exhibition
Printmakers from counties around the Pacific Rim
can submitting works for this exhibition.
The full information for eligibility, dates, and submitting images

You must be 18+ years.
Submitted work must have been completed in past 3 years.
Work on paper may not exceed 76x101cm
Entry fee: NZ$60 
Submission of images closes on 22 July 


The exhibition is presented by the School of Fine Arts, Christchurch,  
with support from College of Arts at the University of Canterbury. 
The exhibition is presented in the Chambers 241 Gallery, Christchurch.

Over 19 years ago, the University of Hawaii at Hilo, USA, established this prestigious exhibition. 
It has been located at the University of Canterbury since 2008. 
In 2010 more than 200 artworks were entered for the exhibition with 38 artworks 
selected from artists from the nations of New Zealand, Australia, Canada, 
Japan, Mexico, Russia, South Korea and the United States of America. 

View catalogues and images for the previous Pacific Rim International Print Exhibitions
 by clicking here on the years: 2008 and 2010.

20 June 2013

Don't Shoot The Messenger, 19June-27July, Wellington

Don't Shoot the Messenger
opened last night at Solander Gallery in Wellington.
It is a group exhibition featuring Alexis Neal, Charlotte Graham,
Emily Valentine, Vanessa Edwards and John Pusateri,
for whom birds play an important part in their work.
This exhibition is open until 27 July.

"Birds seem to have a bad rep these days, as potentially being bad omens 
and in Maori culture they are seen as messengers
 usually associated with death but they are simply the messengers.
'Don't Shoot the Messenger' looks at dispelling some of these ideas 
and replacing them with new perspectives 
from artists whom love and respect birds of Aotearoa and beyond."

Alexis Neal's new series of works, titled Nga Manu,  
is inspired by early 1900s portrait photography in the form of Carte de Visite, 
so tongue-in-cheek these small works are Manu calling cards. 
There is an element of humour in this work 
where some birds are represented in an oval portrait format 
and some named with important chief titles.

Alexis Neal, Nga Rangatira o te Titoki (Chiefs of the Titoki Tree), 2013
Relief, drypoint with hand colouring, 10x7cm, edition of 15, 2013.

Alexis Neal, Nga Manu Solander Box Set (12 Manu Calling Card Prints), 2013
Relief, drypoint & hand colouring, edition of 15.

In putting this show together I felt it was important to create a series of prints 
that could be stored as a box set in a ‘Solander’ box, making reference to the gallery but also to print traditions.”

Vanessa Edwards' new series explores the simple beauty and value
that these birds have in our past, present and future.
Ngā Aitanga Kapakapa a Tane (The Wing-flapping Children of Tane)
refers to the native birds of Aotearoa being direct descendants
of Tane Mahuta, the god of the forest.
The many native birds of New Zealand are the original kaitiaki (caretakers) of this land
and play vital roles in the many myths and legends originating here.

 Vanessa Edwards, Manu Matauranga (Knowledge Birds), 2013
drypoint & screenprint (framed) on 250 x 250 mm paper, 1 of 1,

John Pusateri produces exquisite stone lithographs
that tap into the artistic tradition of memento mori,
a practice dating back to antiquity where imagery is designed to remind the viewer
of their mortality and of the transience and fragility of human life.
In many of John’s bird series there are striking ironies of preservation being discussed,
questioning whether preserving the specimen does nothing to protect it.
Strong references to extinction of the past have a wistfulness and sorrow
in his rendering of specific birds as protecting them from extinction in the future.

John Pusateri, Post, 2013
Pastel and coloured pencil on archival digital print, 108x73cm

So if you are in the Wellington area,
head along to Solander and have a look at the exhibition.
If you can't get there, images of the works are here on Solander's website.

17 June 2013

How-To Videos for Print Processes

Hello NZ Printmakers!
I randomly came across these printmaking instruction videos today,
(made by Double Elephant Print Workshop in the UK).
They are easy to understand and follow the processes
so I thought I'd share them with you...

They also have some "Top Tips" videos 
such a chine-colle, registration and experimentation.

If you have any How-To videos you want to recommend,
please add the link in a comment below
or click here to email me to send me the website address.

15 June 2013

Letterpress, NZ Style

Letterpress is a relief method of printing text and images
which has a beautiful printed quality, 
most often recognised by the distinctive indent in the paper.

Walter Hansen, Blue/Black Kōkako Edition
Letterpress, edition of 70

The first Western printing press and movable type was invented by Johannes Gutenberg 
in the mid 1400s, and it quite literally spread the word until the mid 20th century,
when modern technologies evolved in an ongoing quest for speed and efficiency.

File:The Caxton Celebration - William Caxton showing specimens of his printing to King Edward IV and his Queen.jpg

Around the 1970s the printing industry worldwide discarded letterpress equipment 
which allowed artist printmakers and hobbyists to acquire presses and movable type.
Types of Letterpress Printing Machines

Platen presses' main char­ac­ter­istic is that paper is fed into a ‘jaw’
with the type on one side and paper on the other.

Example of a Handpress
The Printing Museum's oldest item: (Harrild) Albion Hand-Press
This press printed the first issue of The Evening Post in 1865

Example of table-top Platen Press - Adana 8x5 at GTO Printers (Auckland)

Columbian ('Eagle') Press (approx 1860)
at Otakou Press Room, Dunedin

Cyl­in­der presses are char­ac­ter­ised by using a large cyl­in­der
to deliver paper and impres­sion to type on a flat bed.
This prin­ciple is used by the latest let­ter­press machines
like the Heidel­berg Cyl­in­der machines or pre­ci­sion proof­ing presses

Vandercook #4 
at Otakou Press Room, Dunedin

Letterpress can be made several ways:
Hand-set type (individual letters), cast plates (text or image), polymer plates

Wood poster type (hand-set)
Hand-set metal type
Metal type, set/arranged, ready to print
Cast metal plate with image
Metal block with shape for embossing
Polymer plate with shape for printing
Letterpress can also be used
for embossing/debossing
(same print process but without any ink)

Here's a few examples 
of some NZ printmakers using letterpress:

Saranna Dury, Huge Type is Sexy, 2011
Rakai Karaitiana, Huia
Letterpress, edition of 50
House of Aroha (Napier)

Walter Hansen, Romantic
Letterpress, 32x22cm, edition of 30

Tessa Gourley, booklet and posters from project On The Plonk
Tara McLeod, F&X Typo Design, 2011
Letterpress, 38x56cm, edition of 12

Photo: Beer? Chur!
Into the White © 2012
Into The White Press, Beer? Chur!, 2012

Into The White Press, A Bee C, 2012

Walter Hansen, Kaimoana

Letterpress Workshops
If you are keen to take a letterpress course, here's a few links to follow:

GTO Printers, Auckland regularly run workshops.
There are letterpress workshops scheduled for
13 July, 10 Aug, 14 Sept, 12 Oct, 9 Nov if you're interested.

GTO's workshops on the Adana press
are ideal for learning the principles of letterpress printing

(If you know of any other people offering letterpress workshops,
please let me know so I can add them to this list)

Homeprint Studio in Fielding

Here's a little video I found from Auckland's Magpie Press,
showing the letterpress process in action:

Digital Letterpress
If you don't have room for a letterpress in your studio (like most of us)
but want a better understanding of the process,
you can by an amazing app for ipad or mac called LetterMPress.
It looks just like the real thing (only with an 'undo' button)!

Here's an image I made on LetterMPress recently,
it was a lot of fun!
It is great method for learning the process
and to play around with type arrangements.

Have you tried Letterpress yet???
What did you enjoy most about the process?

13 June 2013

Useful Terms for Discussing Digital Prints

There has been much 'discussion' in the past few years
about whether a digital print is considered an original print / printmaking.
Here are a few thoughts on the subject, but I hope we can discuss this more...

This definition of an original print was published in Printmaking Today (Vol 14, No.3) in 2005:
An original print is "an image that has been conceived by an artist as a print
and executed solely as a print in a limited number under his or her artistic control.
Each print in the edition is an original,
printed from a plate, stone, screen, block, or other matrix created for that purpose.
There is no one original print from which copies were made.
Each is inked and pulled individually; it is a multi-original medium.
The unique qualities of each matrix influence the nature of the images created by the artist.
Regardless of the technology used, an original print is conceived and executed as a print,
not as a reproduction of work in another medium"
This is the most common arrangement for signing a print,
however if printing your image to the edge of the paper
some artists may sign over the image, or may add these details on the back.
(Often the year is also added, either after the title or signature)

Printmakers have always embraced new technologies for getting ink on paper!
If the artist conceives & makes the image entirely by digital means,
then it is still an original print, even if the matrix is digital.
Digital prints, made by artists/printmakers, are multi-original works of art,
just like etching, woodcut, engraving, screenprint and linocut,
or photo-mechanical reproductions such as lithographs. 

Most handmade prints are produced in small quantities, up to 100 prints.
There may be subtle imperfections, differences or degrading, 
inconsistencies that occur naturally within the editioning process.
On the other hand, digital prints tend to have no noticeable flaws or variations;
consistency is an advantage if buying a print late in an edition; 
as the last looks the same as the first, no matter how many prints are made.

Both can have varied editions, where the artist intentionally makes changes
such as changes in colours throughout the edition.
A famous example of extreme varied editioning is Andy Warhol's Marilyn Portfolio

Andy Warhol (USA), Marilyn, 1967

Regardless of the printing method, all prints should be honest in their description
when being advertised for sale; privately, commercially or through art dealers/galleries.
Each original print should be accompanied by description of the medium 
which states the process by which it was made.
I personally think the description on digital prints should include digital processes,
such as 'inkjet print' (avoid using obscure terms such as giclée or c-type print)
because I want to know if it quality ink on archival paper.

In printing these digital multiple originals, or limited edition prints,
the artist should sign, date and number each one if an edition,
or for a series of tests use 'AP' (Artist Proof), the same as any other print method.

High quality digital printing service for artists at Endemic World

If the image is taken from an existing artwork (eg. a scan or photo from a painting)
and digitally printed, then it should be termed a reproduction.
This description applies where the artist does not have a hand in producing the print.

Limited edition reproductions are produced in limited numbers;
smaller print runs make the image more exclusive (and therefore more valuable)
but you are relying on the honesty of the publisher not to exceed that number
or to release 2nd runs of the image to generate more money etc.
Limited edition reproductions must be numbered and/or certified,
but I think it should in some way acknowledge the original source image in the information provided
(eg, Digital Reproduction of 'Title, Year, Oil on Canvas')

Margaret Petchell, Parson
Digital print (reproduction of painting)
Signed & numbered, limited edition of 50

Open editions or print-on-demand prints tend to cost less than limited editions,
They generally have no number or signature (or signature may be in the digital file) 
and are often produced by a 'publisher' or retailer under license from the artist.
If the design is popular, the publisher can print hundreds or even millions
and can potentially decrease in value as they become more common.
However, remember that original art prints can also be open editions.

Let's be realistic: It's no secret that artists need a source of revenue between exhibitions.
Often labour-intensive paintings are expensive,
so artists may reproduce them as digital prints
to make their artworks more accessible and affordable for the general public.

There are many NZ artists and printmakers producing digital prints for sale
(both original prints & reproductions)
though print retailers such as Endemic World in Auckland,
who offer a range of affordable prints
(I like their mix of screenprints, letterpress, stencil, digital).
high-quality using Epson Ultrachrome archival inks and papers,
so click here to contact Elliot Alexander if you're interested in printing &/or selling prints,
and take advantage of their great set up for online orders for prints (NZ and overseas).

As with any provider, it is important to discuss your requirements thoroughly.
Its up to you how many to print, whether you want to sign and number the prints,
to decide on the best medium description for the work, and to set a realistic price.

Michael Smither, Cracker Biscuit
Screenprint, 41x41cm, edition of 70

Now, don't get sucked in to believing that describing a print is 'simple'...
Above is Michael Smither's limited edition screenprint reproduction of his own painting.
The image is a reproduction,
however each hand-printed screenprint is an original artist print.
I love this example, as it is challenging the perceptions of print original vs reproduction.
For additional perspectives about these issues here in NZ, 
I recommend you also read these:

New Zealand does not have any specific legislation regarding artists prints or multiples,
we do not have a recognised policy of standards and regulations for classifying prints.
Do you think we need it?? Who would enforce it? How?
At present, we rely heavily on the artists, galleries, dealers to label them 'correctly' and honestly,
 its currently a shared responsibility between producers, sellers and buyers;
that's why I believe it is important that we continue to share knowledge about digital printing.

When purchasing, you should be able to tell by the medium description,
but if you are buying a print and you're not sure, then ask these simple questions:
Is it an edition? How many prints are there?
Is it a reproduction of an existing artwork,
or did the artist create it as an original to be printed?

Do you have any thoughts on whether digital prints are original art prints?
Do you have any tips about how to identify a reproduction from an original?
Add a comment below to let us know your thoughts,
or click here to head over to our Facebook page to join in the discussions...