#10 Screenprinting

Brain Reed
"Switchfoot & Anberlin Fall Tour 2011"
Screenprint - Poster

I chose this screenprint for shape. I love the way artists use an image within an image and it is always fascinating trying to figure out how it was done. The shape of the lion in the negative space appears within the shape of the fingerprint. I always gravitate to images like this because it makes you think.

http://wae.blogs.starnewsonline.com/20437/the-lion-the-print-and-the-cause-graphic-artist-designs-poster-for-charity/

#9 Collagraph

Susanne Clark
"Under the Hot Sun"
14in x 14in

This is a wonderful print and I chose it for color. The amount of color is incredible and I would love to know how she got the final product. The use of reds and yellows and pink all work very well together, creating a landscape of a desert sunset. I was drawn to this piece because of large amounts of reds; it was able to grab my attention. The way she added in the highlights, i'm assuming by wiping the plate, was beneficial and only adds to the work.

http://nonakedwalls.blogspot.com/2008/08/new-collagraph-print-under-hot-sun.html

#8 Collagraph

Kari de Koenigswarter
"Tuscan Landscape"
30cm x 43cm

I chose this piece for texture which is fitting for a collagraph. The artist was able to get deep ridges which represent the texture of the mountains. Just by looking at it you are able to gain an idea of what it would feel like, you are able to imagine the texture. This was an interesting piece overall but I was fascinated with the way she gets the small buildings off in the horizon. Being able to get such small detail in a medium like this must have been difficult.

http://www.dekoenig.com/gallery/tuscanlandscape.html

#7 Drypoint

Artist - Hugh Bryden

"Carsethorn"
Drypoint on Plexiglas
7 inches x 19.5 inches

I chose this piece for patter and repetition. I wanted to focus on the plants and bushes in the foreground. The artist uses the pattern and repetition of lines to create the beautiful landscape. This caught my eye because of the intricacy and detail of the lines he needed to create this. The way he chooses to use the positive and negative space is beautiful and I am constantly studying this piece to understand how he made this work.

http://www.nontoxicprint.com/drypoint.htm
http://www.hughbryden.com/?cat=20

#5 Linocut/ Linoleum Cut

Artist - Elizabeth Catlett

"Sharecropper"
Color linocut on cream Japanese paper 
450 x 431 mm (block); 544 x 513 mm (sheet)

This piece is a great example of texture. Catlett gets the illusion of texture with the repetition of her lines she creates. Especially seen in the hat, you get a feeling for the texture of a straw hat as well as the texture in the background representing some sort of field the worker is in.
I was attracted to this piece because of the emotion. You are able to read the expression on the face of the worker. I also like how the artist chose to give the face color and leave the rest black and white. It is a great way to bring your attention to the main subject matter of this work.

http://www.artic.edu/aic/collections/exhibitions/AfricanAmerican/Sharecropper

#6 Drypoint

Artist - Jenny Freestone

"Vessel" Drypoint Etching
18" x 24"

http://washingtonprintmakers.com/jenny-freestone/#vessel-recycle

Jenny Freestone works with drypoint, lithography, etching, direct gravure, and photogravure. Her works are usually from photographs, then choosing which medium will best fit the message. Natural forms are her main focus, usually relating it to architecture, allowing her pieces to portray the connection between man and nature.
I chose this piece to emphasize the use line. The bird's nest is formed through the lines she creates. There is a great range of value throughout this work of art, emphasizing the dark's and light's. It is incredible how a simple thing in nature becomes an intricate composition for an artist.

#4 Linocut/ Linoleum Cut

Artist - unknown

"South Shore" - Linocut
7.25" x 9.75"

http://www.sim-publishing.com/savary2.htm

I used this piece for balance. This is an asymmetrical piece and I enjoy the use of positive and negative space. The amount of negative space used makes it look heavier on the right side, giving a lot of contrast. The visual of the diagonal line draws my eyes right through the middle of it, forcing my eyes to move around the piece.

#3 Linocut/Linoleum Cut

Carl Eugen Keel 

'Bar' - Woodcut

He was a Swiss painter and is known for his woodcuts, usually portraying town life, and often hand-colored. 
I enjoy the use of shape he incorporates in order to bring out the highlights in this composition. The large cut-out of the Bar catches my attention and I used this as inspiration. Amoung the highlights emerges the shapes from the shadows allowing him to create shapes with both the positive and negative space.

#2 Embossing + Lino Cut

Günther Uecker

  'Kreis Kreise' - Blind Emboss on hand-made paper
  19.7 x 27.6 in





















Uecker began his art education in 1949 in Wismar, Germany. He was at the forefront of the international movement to rejuvenate art in the late 1950s.

I was attracted to this embossing because of its simplicity. I like how something so simple as dots can make a composition so interesting to look at. Basic shapes can be used to create something much more sophisticated. The way the light and shadows work together creates patterns within the dots but only for a brief second. Although it is just a picture, we can picture in our head what something like this would feel like.

http://www.artslant.com/la/works/show/254612

Cyril Power

'Merry-Go Round' - Linocut





















He was an architect in his early fifties when he chose a different career path. He became a linocut printmaker, working his way up to a leading member of the Grosvenor School of Modern Art in London. During this time, leisure and popular culture were making advances, but at the same time, it was an era of the Great Depression and instability. Although the Merry-Go Round is portrayed as something playful and fun, there is a feeling that it is on the verge of spinning out of control (Rhythms of Modern Life).

Through line and shape, the illusion of motion is created and that is what I found fascinating. Although the color scheme is simplistic, the orange is emphasized and grabs your attention as your eyes glide around the composition. I felt like this piece displayed rhythm and fluidity through the use of pattern, giving me some inspiration for our Linocut projects.

http://www.bridgemanart.com/en-GB/news-and-features/collection-highlights/2009/july/Cyril%20Power

#1 Embossing/Blind Embossing

Jacqui Dodds

    'Snowflake' Blind Emboss



"My practice revolves around memories of places I have visited. I create my own narrative and essence of the place in print and painting" (Jacqui Dodds).

Jacqui also creates artwork for museums and art galleries, using a wide range of different mediums. 

I really enjoyed the sharpness of the embossing; the different shapes create lines and bring forth the delicate texture of the snowflake. As the angle of light changes, so does that value of shadows and highlights, changing the composition every time you look at it.

http://jacquidodds.blogspot.com/2012/12/snowflake-blind-embossing-print.html