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Subject: "10" Portfolio Showing at SGC Philadelphia
Posted by: Annie B

Zea Mays Printmaking (ZMP) has just published a ten year anniversary portfolio titled "10." I picked mine up last week and it's beautiful. It's a suite of eleven prints produced by ZMP faculty artists including myself (my woodblock print 10 Little 9 Little Indians), Meredith Broberg, Liz Chalfin, Nancy Diessner, Anita S. Hunt, Louise Kohrman, Barry Moser, Lynn Peterfreund, Joyce Silverstone, Carol Wax and Mark Zunino. Each print is contained in its own letterpress printed folio and the entire set sits inside a golden silk clamshell box (above) made by artist/bookbinder Sarah Creighton. Craig Harbison, Professor Emeritus, Art History, University of Massachusetts, Amherst wrote the introductory essay. "10" will be one of the portfolios on display at this week's SGC Philadelphia Conference. If you're going to the conference, "10" will be hanging at University of the Arts. This etching by ZMP director Liz Chalfin captures the quiet light-filled beehive-like feeling of the studio. [Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Woodblock Dreams.
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Subject: Moving right along to Valley of Fire II
Posted by: Maria

Got my wood from McClain's today (http://www.imcclains.com/) and paper and other goodies from the Baren Mall (http://www.barenforum.org/) which motivated me to start my next print. I want to continue experimenting with smaller prints in moku-hanga. Over the years I've toyed with the idea of transferring photos properly doctored in Photoshop to start my woodcuts, but I find that most of my "image making" happens when I cut, not when I sketch. Here are my original reference photos  on the right of the block, some doctored photos at the top, and a pencil sketch on the block. I generally let that "gel" for a few minutes to hours and then proceed with a permanent marker, strengthening the lines and forever committing the design to the wood. The character of the magic marker (Sharpie) also makes me simplify the design a little so as to leave some designing leeway for my trusty chisels. Often I play with the reality of the reference photos, I liked the wild brush in the front plane, but later decided against it since I wanted a clear view from the "V" of the canyon edge into the valley below. Here is the design, ready for walnut ink and oil and sharp knives. Carving tomorrow! [Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog 1000 Woodcuts Updates.
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