Small Plates

Summer 2020 Virtual Art Exhibition

Small Plates: A Taste of Printmaking

These small prints by students and instructors display the variety of effects that different printmaking techniques and materials can have. The prints on display reflect both traditional techniques and new developments in printmaking, including relief, drypoint, monotype, solar plate etchings, books, and mixed media. Each section of this exhibition includes a description of that printmaking process.

Artists include: Carina Araujo-Lane, Selma Bromberg, Laurie ‘Duck’ Caldwell, Joanne Cornell, Kathleen Dalton, Marianne deVaux, Marion Foster, Mary Gillis, Stephanie Mohr, Jane O’Reilly, Sharon Pattison, Todd Pattison, Francine Rubin, Laura Sheffield, Kelly Slater, Rebecca Torres.

Join us for a virtual opening reception on June 19th at 6 - 7 pm.

RELIEF PRINTS

Relief prints include woodcuts and linocuts, as well as prints made from other flat materials that are suitable for carving—such as soft vinyl and rubber blocks. Specialized gouges and knives are used to cut away areas that the artist does not want to have print. The remaining raised areas are inked and end up making the image. While relief prints can be made with a press, they are more commonly hand-pulled by placing paper over the inked block and using a flat implement such as a wooden spoon or a printmaking barren to transfer the ink from the block to the paper.

Grey Lady - Ptown

Grey lady ptown devaux copyright 2020

Marianne deVaux

White Line Woodblock
5” x 5.5”
Not for sale

Artist statement:

The Grey Lady is a white line wood block, created by carving lines into the surface of a pine board. The raised surfaces were inked with various colors. Paper was placed onto the inked board and rubbed with a spoon to press the ink onto the paper.

Moon and Mountain

Kathleen dalton moon and mountain

Kathleen Dalton

Woodcut & Linocut on Rice Paper
6.5 x 3.5"
$50
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

My fascination with Japanese Ukiyo-e woodcuts led to this linocut sky and water overprinted with woodcut mountains. Prussian blue Charbonnel mountains transcend without diminishing quieter Speedball opaque sky and water.

Blue Hare

Sharon pattison blue hare

Sharon Pattison

Woodcut
16" x 16" framed
$120
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

This woodcut piece was part of an edition made for a collaborative project of prints no larger than 10 inches square. There is a hare who sometimes runs through the woods beside our house so I am always observing him through the foliage.

Untitled

Carina Araujo Lane untitled

Carina Areujo-Lane

Linocut
Not for sale

Artist statement:

This piece is a linoleum block print, created in Kelly Slater's Improvisational Printmaking class.

All We Like Sheep

Laura sheffield all we like sheep

Laura Sheffield

Linocut
4" x 3"
$50
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

This is a linocut from a postcard of stone carving on a gothic cathedral.

March Snowstorm-Speakeasy Maple

Kathleen dalton march snowstorm

Kathleen Dalton

Woodcut on Rice Paper
10" x 8.5"
$175
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

As part of my ongoing project about East Lexington Trees I made this woodcut print when the darkness of Mass. Ave. contrasted with the globs of white snow on the majestic maple and the ground near the historic site of East Lexington's speakeasy district in the mid-twentieth century.

MONOTYPE PRINTS

Monotypes encompass a wide variety of printmaking techniques—including painterly monotypes, trace monotypes, dark field monotypes and on and on. The one thing they all share in common is that no permanent alteration is made to the plate. Once the plate has been cleaned, it is once again a blank slate, making monotypes truly one-of-a-kind prints.

Remnant, Mass MoCA Tribe IV

Becca torres Remnant Mass Mo CA Tribe IV

R. Leopoldina Torres

Monotype on BFK Rives Paper
4" x 5"
Not for sale

Artist statement:

As a printmaker, I am interested in exploring and exposing the surfaces of things. In this “remnant” monotype print series, I deconstruct printed materials from cultural institutions and museums to explicate the ways in which we consume culture and produce meaning.

Lineage

Duck watson lineage

Duck Watson

Monotype on BFK Paper
16" x 10"
Not for sale

Artist statement:

This monotype is based on an image of my sister and niece. The blind contour drawing that is the basis of the image revealed the likenesses of older generations of women in my family. It struck me that this was archetypal female grooming and bonding, and likely a scene that has been repeated for millennia.

Charlotte

Charlotte jane

Jane O'Reilly

Monotype on Somerset
$145
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

Charlotte is my small dog. I had forgotten to bring my entire working kit to class. I did have a rather fuzzy photo of my new dog. So just for fun I used an old Lucite plate, three moth eaten brushes, three old tubes of Speedball in black, brown and white and some extender and I painted a picture of the photo. It turned out marvelously well. I have been trying to recreate the experience ever since.

La Feuille

Marianne devaux La Feuille

Marianne deVaux

Collagraph
6” x 4”
Not for sale

Artist statement:

La Feuille print was created by rolling ink, edge to edge with a brayer, onto a piece of plexiglass. A Ginkgo leaf and some small branches were placed on the inked plate, creating a mask effect. Paper was placed on top, and then the plate and paper were run through a printmaking press.

Dancers II

Joanne cornell dancers II

Joanne Cornell

Monotype
6.5" x 13"
$150
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:
Dancers II was created using handmade stencils. This print is the ghost which was enhanced by turning over the stencils and putting it through the printer a second time.

Cape Summer Morning

Duck watson cape summer morning

Duck Watson

Monotype on BFK Paper
12" x 12"
Not for sale

Artist statement:

This is a monotype of an image I first created two summers ago and have repeated in other media. I was interested in the almost blinding light of the water reflection, and how it reversed the value of objects in its path. A simple idea that has been very appealing to viewers.

DRYPOINT PRINTS

To make a drypoint, you take a plastic or metal plate and engrave your design by scratching into the plate with an etching tool or some other sharp pointed object. This scratching or engraving makes both an indentation and a little burr thrown up by the etching tool's pressure. Ink your plate, wipe off excess ink, and run the plate—with a dampened sheet of printmaking paper on top—through the press.

Drypoint prints closely resemble traditional etchings. However, since the lines of the image print from the burr, rather than from ink down within the recessed lines, drypoint prints have a softer, “furrier” appearance than etchings do.

Horned Owl

Sharon pattison horned owl

Sharon Pattison

Drypoint
20" x 16" framed
$120
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

This drypoint was based on a photograph I took of a beautiful horned owl who was living at a rescue shelter for raptors who had suffered injuries that prevented them from surviving on their own in the wild.

Bow Street Pines

Kathleen dalton bow street pines

Kathleen Dalton

Drypoint
Not for sale

Artist statement:

As part of my ongoing project about East Lexington Trees, I cut into a Flexi-plate with a photograph under it. I aimed in this print to show the sculptural magnitude of these stately pines while letting the drypoint detailed drawing and inking bring out the texture of forest green needles and wind.

Winter Solstice, Blue

Winter Solstice Blue

Kelly Slater

Drypoint
9 3/4" x 11 3/4
Not for sale

Artist statement:

Both Winter Solstice prints are inspired by a photo I took of the low December sun silhouetting conifers in the Basin parking lot in Franconia Notch. Winter Solstice, Blue was pulled entirely with a wooden spoon—not an easy task but absolutely possible!

Winter Solstice, Green

Winter Solstice Green

Kelly Slater

Drypoint
9 3/4" x 11 3/4
$175
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Both Winter Solstice prints are inspired by a photo I took of the low December sun silhouetting conifers in the Basin parking lot in Franconia Notch.

Fern at the Window

Kathleen dalton fern at the window

Kathleen Dalton

Drypoint on BFK
8.25" x 6.25"
$60
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

I drew a reaching and growing fern in my window and turned into a drypoint. Translucent Charbonnel-inked fronds darken as you get closer and in the distance stems keep the fronds moving up and down in the sun.

SOLAR PLATE ETCHINGS

Solarplate is a nontoxic printing technique which creates an image that is similar to traditional etching. The solar plate is a thin steel plate with a photo sensitive covering. The process begins by either drawing an image directly onto an acetate sheet or printing or photocopying an existing image, such as a photograph, onto the acetate.

This acetate sheet and a light box make it possible to then develop an image on the solar plate. The areas of the solar plate that were under the dark areas of the image will remain “unexposed” and softer—and can then be gently scrubbed with a soft brush in a water bath to make them recessed. The exposed areas that were under the clear portions of the acetate will subsequently harden and remain at a higher level on the plate.

When the plate has completely hardened, you are ready to print the plate as you would a traditional etching. You ink your plate, remove the excess ink with tarleton, place it on the etching press, place dampened paper on top, and roll it through.

Hydrangea

Bromberg Hydrangea

Selma Bromberg

Solar Plate
14" x 16"
Not for sale

Artist statement:

This solar etching of flowers was inspired by my love of gardening.

Pinewoods 1

Marion foster pinewoods 1

Marion Foster

Solar Plate Etching and Monotype
11” x 14” framed
Not for sale

Artist statement:

Pinewoods 1 is a solar plate etchings inspired by a Northern Michigan old growth forest which I know well. The print began as an artistic idea with a charcoal drawing. An acetate ink-jet print of the drawing was placed over a photosensitive solar plate and then exposed in a lightbox. After being hardened and rinsed, the solar plate was then inked and printed.

Trypophobia

Jane oreilly trypophobia

Jane O'Reilly

Solarplate
11" x 15"
$145
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

The shapes are drawn directly from a group of cobblestone size rocks I saw collected in the crotch of a drifting redwood on a Washington State beach. I reduced the scale to make a SolarPlate. A mix of Charbonnel Aqua Wash produced an effect I really liked, until I had looked at it for about fifteen minutes and realized I felt queasy and fearful. A friend suggested I might suffer from Trypophobia .."an aversion to the sight of small holes or bumps". Alas, I can only bear to look at it from about two feet away. Does it trouble anyone else?

Waiting For Take-Off #1

Mary gillis waiting for takeoff

Mary Gillis

Solar Plate Print
7" x 10"
$100
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

While in my seat on an airplane waiting for take-off I noticed the shapes in my surroundings, and made a simple quick sketch. Many years later I came across the sketch, and decided it might make an interesting two-color print. I made two solar plates, one for each color.

Amaryllis

Bromberg Amaryllis

Selma Bromberg

Solar Plate
14" x 16"
Not for sale

Artist statement:

This solar etching of flowers was inspired by my love of gardening.

Untitled

Mary gillis untitled final

Mary Gillis

Solar Plate Aquatint Print
15" x 11"
$100
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

The squares in this design are all exactly the same, but when you turn them in different directions it makes an interesting pattern. Creating a ‘solar plate aquatint’ print involves making a plate that has an all-over textured surface to hold the ink. I cut the design out from a piece of paper and laid the paper onto the inked plate—the ink prints where the paper is cut away.

BOOKS

All types of prints can be incorporated into artists books and book design. One of the simplest methods of making an artist book with prints is to fold a print into a concertina or accordion book. Prints may also be used as part of the binding process in fine books.

Pink Concertina

Francine rubin pink concertina

Francine Rubin

Ink and Paper
4.25" x 7.5"
Not for sale

Artist statement:

The pages of this concertina book are monotype prints that I created. I felt that each wasn't finished and wanted to see if they would feel more complete when grouped into a concertina form. I find the concertina form interesting because the shape is changeable.

Eco Print Pamphlet

Todd pattison eco print pamphlet

Todd Pattison

Eco print pamphlet
4" x 5”
$20
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

This single-section pamphlet is covered in botanical printed paper using blueberries, onion skins and some plants gathered around our yard. Several house keys were added to form a resist and add metal to the process, helping to stabilize the colors.

Book 3

Todd pattison Book 3

Todd Pattison

Covered in Monotype Print
4" x 6"
$40
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

The book is bound in quarter leather and paper printed using a scrap of fabric purchased from FabScrap, a fabric recycling store in NYC. The fabric was inked on one side and printed onto 18th century paper that came from a damaged, dictionary printed in the 1790s.

December Milk Moon

Francine rubin december milk moon

Francine Rubin

Ink and Paper
2.75" x 7.5"
Not for sale

Artist statement:

A poet, I am interested in integrating my poetry and printmaking. Longer poems that I have written present more of a challenge in terms of printing the text. This haiku piece is a monotype reduction print. In order to print the text, I needed to write it backwards on the plexiglass plate

Pine Fronds Book

Kelly Slater Pine Fronds Book

Kelly Slater

Trace Monotype Accordian Book
6" x 19"
Not for sale

Artist statement:

Pine Fronds is a trace monotype on Asian paper that has been folded into a concertina book. Inspired by a photo of tiny pine saplings, it was made by placing the paper on a plate that had been covered with ink and then drawing in pencil on the back of the paper.

MIXED MEDIA PRINTS

These prints combine multiple techniques, including monotype, drypoint, collage, solar etching (using a sensitized plate with a transparency), collagraph and woven paper. Extending the process of making a print through using varied techniques and materials requires flexibility, as well as responding to and enjoying the surprises that printmaking, especially monotype printmaking, produces. Mixed media prints also require several stages of preparing and inking plates, as well as readying paper and press for each step in the process.

Skimmer

Sharon pattison skimmer

Sharon Pattison

Weaving of a Solar Etching and a Collagraph
16" x 20” framed
$250
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

This is a weaving of a solar plate etching and a collagraph. The effect of weaving the two together brings to mind the wind rushing through the feathers of the bird in flight.

Flight #40

Stephanie mohr flight 40

Stephanie Mohr

Transfer and Relief Monotype with Stencils
Not for sale

Artist statement:

“Flight #40” focuses on the simple but evocative imagery of airplanes, which for me represent both positive concepts such as adventure and possibility, and more sinister concepts. “Flight #40” combines transfer monotype with traditional monotype and stencils. I would like to acknowledge Banter Arts Group and my long-time teacher and friend Selma Bromberg for their support.

Pinewoods 2

Marion foster pinewoods 2

Marion Foster

Solar Plate Etching and Monotype
11” x 14” framed
Not for sale

Artist statement:

Pinewoods 2 is a solar plate etching, inspired by a Northern Michigan old growth forest which I know well. The print began as an artistic idea with a charcoal drawing. An acetate ink-jet print of the drawing was placed over a photosensitive solar plate and then exposed in a lightbox. After being hardened and rinsed, the solar plate was then inked and printed. I overprinted Pinewoods 2 with a separate monotype plate to achieve the yellow green color.

Northamptonshire Map #2

Laura sheffield Map 2

Laura Sheffield

Monotype on Rives BFK paper using Caligo inks
8" x 10"
$150
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

This print was drawn from a map of a rural county in England. Farm fields, viewed from above, show evidence of earlier settlements and buildings, fishponds and gardens. The colors come from two layered impressions of rolled Caligo inks, with wiping and scraping on a sanded plexiglass plate, printed on Rives BFK paper. The dark lines are inscribed drypoint on a different plexiglass plate.

We Used To Fly

Stephanie mohr we used to fly

Stephanie Mohr

Monotype Stencil
Not for sale

Artist statement:

"We Used to Fly" focuses on the simple but evocative imagery of airplanes, which for me represent both positive concepts such as adventure and possibility, and more sinister concepts. "We Use to Fly" is a monotype with stencils. I would like to acknowledge Banter Arts Group and my long-time teacher and friend Selma Bromberg for their support.

Barred Owl

Sharon pattison barred owl

Sharon Pattison

Monotype and Drypoint Collage
9" x 12” framed
$140
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

This collage is made from three different prints - one drypoint and two monotypes. None of them made me happy on their own, but mixing them together brought some color to the owl and some more interest to the monotypes.

Northamptonshire Map #1

Laura sheffield Map 1

Laura Sheffield

Monotype on Rives BFK paper using Caligo inks and chine colle on rice paper
8" x 10"
$150
Interested buyers should contact jessica.covert@ccae.org. We will forward you the artist’s contact information.

Artist statement:

This print was drawn from a map of a rural county in England. Farm fields, viewed from above, show evidence of earlier settlements and buildings, fishponds and gardens. The colors come from two layered impressions of rolled Caligo inks, with wiping and scraping on a sanded plexiglass plate, printed on Rives BFK paper. The dark lines are inscribed drypoint on a different plexiglass plate. Finally, the bluish triangle is a chine colle addition (a scrap of a monotype print on rice paper, adhered to the paper with paste and run through the press).

Thank you!

Thank you for viewing our summer art show, Small Plates: A Taste of Printmaking! And a very special thank you to the artists for participating, and to Selma Bromberg and Kelly Slater for organizing and curating this show.