Printsy Interview - Mark Hill

Etsy: markbhillblockprints.etsy.com
Blog: markbhill.blogspot.com
Website: markbryanhill.com
Flickr: flickr.com/photos/paperravenart

Brief Bio

Originally from southern Illinois and now residing in Middleton WI with my fiancée Valerie. I am a self-taught printmaker and book artist. I have been drawing since I could remember.


How did you get started in printmaking?
I started out as a book artist and was constantly looking for new ways to decorate the books I made. After carving a few blocks I thought, hey I like this. I eventually changed my focus to printmaking.

Describe where you work.
I have a small studio space in the 2nd bedroom of our apartment. I dream someday of having a full size studio!

What's your favourite printmaking process?
Linoleum block prints, which are hand-pulled and hand-colored with watercolor.

What's your creative process for any given print? (eg. sketch first? Pre-planned or free-form?)
I usually sketch out the idea first, working on the composition and such. I usually decide what size it’s going to be first, so I trace a line around the block I’m going to use. Then I trace it with soft pencil on tracing paper, then burnish the design onto the block. I go back over the design with a fine point marker just so I don’t rub off the design.

What do you enjoy most about printmaking?
Carving the blocks. Although I love the actually printing, too.

What's your least favorite part of the process?
Cleaning up after printing. Oil-based inks are a necessary evil.

What are your inspirations (other artists, people, places, events, etc.)?
My late brother, Marvin was also a print artist and has always been an amazing inspiration. I also like the work of Lyn Ward and Barry Moser. Of course, my fiancée Valerie is a constant inspiration.

How has your work changed and evolved since you started?
My earlier prints were pretty basic and not very detailed. I’m getting more and more obsessive with detail as I go on.


How do you get past creative slumps?
Read a lot and doodle in my sketchbook.

How do you promote your work?
I have a blog (markbhill.blogspot.com). I also have my work on Etsy and I have a fan page on Facebook.
Any other comments or advice for others who want to try making hand-pulled prints?
Be patient and learn from other artists as much as you can.

Who's Printsy This Week - County Fair Edition

Artists are blessed - or possibly cursed - with a nearly infinite variety of possible subjects. Whether working with oils or acrylics, printing serigraphs or lithographs, drawing, sculpting, or bringing their works to life through mixed-media, artists can choose from everything in creation to fuel their creativity, from the stars in the sky to the earth beneath their feet. Even when the world around them stubbornly refuses to inspire that first brush stroke, artists can mine the depths of their imagination to create powerful abstractions, surreal scenes, visions and vistas simply unknown in nature. Here in Virginia - home of the Who's Printsy editorial team - we're just on the cusp of County Fair season. The coming months will be filled with baby pigs and cows and chickens, with kettle corn and funnel cake and deep fried Oreo cookies, with ferris wheel rides in the cool night air. In anticipation of the sights and sounds and happy memories that will be made at all the county fairs this year, this week's Who's Printsy includes a selection of prints featuring barns and the amazing animals who spend their time on the farm, from pigs and chickens to horses and goats.
	Pig (Wild Boar) by mmcullen
	Winter in Vermont - a barn linocut by studio27
	Le Perche Landscape, a multi-plate aquatint etching by AtelierConti
	Horse Portrait Screen Print in Dark Blue by rileynoehren
	Handprinted Winter Country Road - Block Print by PrintsByMRB
	Even the Chickens Are Dancing (Original Color Reductive Woodblock Print) by kirstenfrancis
	Simply Goat cream and brown woodblock print by Raineysmith
	Original monotype print Chicken Furry by DeanDymentStudios
	Other Side (hand-colored linocut) by rebpeters
	A Casual Meal - Matted Original Linoleum Block Print of Chickens by AnniePod

Printsy Interview - Diane Podolsky - Anniepod Pressworks

Website & Blog: anniepod.blogspot.com
Etsy: www.anniepod.etsy.com

Brief Bio
I have worn many hats; artist, teaching artist, arts administrator, gallery director to name a few. To this day, I have no real idea how I ended up in this crazy business.

How did you get started in printmaking?
I was working in handmade paper and collage and found myself embellishing the papers with a mixture of media. My work always had a graphic quality and I felt that I wanted to make something “all on one sheet of paper” rather than piecing things together. All of these factors came together resulting in my experimenting with reduction block printing. Not long after, I enrolled at the Pennsylvania Academy of Fine Arts where I studied intaglio methods. I have taken sabbaticals from printing to paint and do installations but my real love is the print studio.


Describe where you work.
I work small so I set up a print studio in a spare bedroom. However, should I want to print large, I am fortunate to live in proximity to a number of professionally equipped printmaking studios.

What's your favourite printmaking process?
Intaglio methods because I find that, for me, they leave the most potential for improvisation as well as the ability to turn a mishap into something wonderful (if you are open to that). I think the best example of this is when I spilled soy solvent on a plate covered with hard ground. I let the plate lay exposed to the acid where the soy solve hit and it turned into something I never could have dreamed of on my own. Another time, a copper plate printed so bad, but was so beautiful in itself, so I saved it. A year later, I took a pronto plate lithography class, photocopied the copper plate, transferred it to a pronto plate, and my etching is now a lithograph! (See blog post “The Prodigal Plate”).


What's your creative process for any given print? (eg. sketch first? Pre-planned or free-form?)
Printmaking is an art form where it is difficult to avoid at least some preliminary planning because mistakes can be costly. I do try to be open about how the plate or block can progress. Usually I have some imagery in mind; it could be an abstract form or a “scene” of sorts. For intaglio plates, I do not do editions (except for the occasional print exchange). I will use the plate for monoprints combining the matrix with other processes such as chine colle, viscosity printing, watercolor, etc.

What do you enjoy most about printmaking?
The total immersion of the process. If I go in my studio before I get ready for the day, it could easily be 5 pm and I may still find myself in my pajamas.

What's your least favorite part of the process?
The clean up!

What are your inspirations (other artists, people, places, events, etc.)?
My favorite printmaker is William Stanley Hayter. I enjoy the outdoors and believe the natural world influences my work; ironically, so does the urban environment in which I live.


How has your work changed and evolved since you started?
I would like to think I have become a better technician though I still find I make lots of mistakes. I probably take more chances with my imagery, but I believe that comes from having a better knowledge of the methods and a wee bit more confidence.

How do you get past creative slumps?
My creative slumps have to do with time devoted to unnecessary things. Printing takes time and dedication and silly distractions can be costly in the amount of effort needed to get back to work. I recently heard that a 5 minute interruption (in anything) actually costs 45 minutes when you factor in the mental strength needed to get back to where you were before the interruption.

How do you promote your work?
Just recently, I went back to doing outdoor shows and I finally opened my own Etsy shop in spring, 2009. I also have work in some local galleries and shops on consignment. Here is some good news – when I stopped doing outdoor shows in the late 1990’s, one of the reasons was because of all the reproductions. People did not know the difference. Guess what? People now DO know the difference and appreciate the handmade.


Any other comments or advice for others who want to try making hand-pulled prints?
Be yourself! Your imagery must be sincere or it will show. Try to set goals according to how you see your career and work progressing; not by what your fellow artist friends are doing. My blog posts include both printmaking and art/business topics. Please feel free to check it out!

Who's Printsy This Week

There are so many reasons to love printmaking! The artistic vision that shapes a design or the craftsmanship that brings a print to life. The use of handmade paper or exotic pigments and powders. It's a safe bet, though, that we're all drawn in by the production of multiples - that is, multiple original prints arising from each artist's design. The only thing more exciting than creating art in multiples, though, is opening your mailbox to find that multiple amazing pieces of original art have arrived! Each artist featured this week will fill your mailbox with a variety of incredible works of art to enjoy in your home or share with your friends and family.
	Original Lino Prints - Pack of 7 Hand Carved Greetings Cards by erasercarver
	Cat Notecards - Handprinted on Handmade Paper by AnniePod
	Purple spiral linocut cards - a set of six by studio27
	OCTOPUS cards- set of three by inkPod
	Spatula and Whisk/No. 2/AP/Original Hand Pulled Block Prints by thehouseofbouton
	Any 3 Alphabet prints, hand screenprinted by strawberryluna
	Color assortment of 5 woodcut print bookmarks by Raineysmith
	Sea Series - 4 color hand-printed, hand carved linoleum cut prints by Chipojo
	Owl Gocco Print Set No. 3 - Four handprinted Owls by kerrybeary
	3 Bahay Kubo Prints by pabili

Printsy Interview - Kyoko Imazu

Etsy: kyokoimazu.etsy.com, rachelscabinet.etsy.com
Blog: rachelscabinet.blogspot.com
Flickr: flickr.com/photos/kyokoimazu

Brief Bio
I’m originally from Japan and arrived in Melbourne, Australia in 2002. I studied Bachelor of Fine Art, majoring in printmaking. After graduating from uni at the end of 2007, I was completely broke so I worked in an office for 4 days a week and made works at night or on Friday – Sunday. At the end of 2009, I quit my job to become a full-time printmaker. I’m still a bit freaked out but mostly enjoying every minute!


How did you get started in printmaking?
At first I was planning to study oil painting but somehow it didn’t connect with me. Then I met the world of printmaking. I really liked how it’s all technique-based discipline and craftsmanship is very much appreciated.

Describe where you work.
I work in a little studio space at home next to kitchen. It’s probably not a good idea in terms of OH&S... I have a press borrowed from my friend/adviser Bridget Farmer while she is in Belfast. I do not have access to process room for etching etc at the moment as our Print Workshop is closed for renovation so I’m mostly doing engravings on copper and woodblock.


What's your favourite printmaking process?
I love engravings. I like to play with the idea of old and new so engraving is a perfect medium for me.

What's your creative process for any given print? (eg. sketch first? Pre-planned or free-form?)
I always do sketch first – either pencil drawing or collage. For my rabbit series, I made collage from 18-19th century illustration books and cartoons or comic books.


I’m always doodling in my sketchbooks so I often use bits and pieces of images from those doodles to create prints too.

What do you enjoy most about printmaking?
I think what I enjoy the most is the process. I love the act of engraving small lines for animal fur or dots for texture by a graver or a needle.

What's your least favorite part of the process?
Filing the edge of cooper plates! I’ve cut my fingers many times doing that. Please let me know if you have a special tip for making edges look nice and clean!


What are your inspirations (other artists, people, places, events, etc.)?
Generally I am inspired by lots of different things in everyday life. Some of those are:

• Old illustration books on science or animal study
• Museum / gallery
• Shrines and forests in Japan (Sadly I can’t do this often)
• Japanese prints, comics and cartoons
• My cat
• Movies especially Hayao Miyazaki films
• Books especially by Margaret Atwood, Mayumi Nagano, Clive Ponting’s A Green History of the World is something I’d always keep in mind
• My childhood memories
• Silent space

How has your work changed and evolved since you started?
I appreciate Japanese prints 100 times more than before.

I used to avoid Japanese prints or Japanese art works as I felt uncomfortable people telling me the relationship between my work and Japanese art so I consciously didn’t look at them. Now it is one of the main inspirations of my work. I think it’s because I’ve become an “outsider” being in Australia for a while. That’s why I can better appreciate my own culture and arts, so it reflects on my own work too.


How do you get past creative slumps?
Read books, watch movies, going to museum and gallery, play with my cat and have a good night’s sleep with inspiring dreams.

How do you promote your work?
This is something I’m still learning how. I try to enter as many awards as possible to get more exposure. Regardless of the result, at least judges would have seen my work.


Any other comments or advice for others who want to try making hand-pulled prints?
Sign up for community print workshop to get basic skills, and the rest will just come with experience. And stay curious about medium you haven’t tried, as printmaking offers endless possibilities.

My encounter with printmaking technique few years ago is one of the best things in my life. This beautiful discipline with deep history is certainly something worth diving for!

Who's Printsy This Week

	Emma (Etching) by PlateInkPaper
	Hypnosis by sabletoothtiger
	Dena Art Print by beauideal
	Oops, Angel in a sticky situation - woodblock print by Raineysmith
	Zebrorse by Chipojo
	Pink Patterned Dot Design Card by papersquid
	Waves by CrossStreetPress
	Lapping - original woodcut print by AzureGrackle
	Serigraph - Squid by MonkeyandSeal
	El Gran Gallo - Screenprint by notoriousfcp

Printsy Interview - Bridget Farmer

Website: www.bridgetfarmer.com
Etsy: bridgetfarmerprints.etsy.com, bridgetfarmerbooks.etsy.com
Blog: bridgetfarmer.blogspot.com

Brief Bio
I grew up in Belfast in Northern Ireland, studied Design and Applied Art in Edinburgh, Scotland, then went traveling and ended up discovering printmaking and meeting my partner in Australia. This led to staying in Melbourne, Australia for four years longer than I meant, studying an MFA in printmaking at RMIT and getting a scholarship at the Australian Print Workshop. I have now moved back to Belfast with my partner for a couple of years.

How did you get started in printmaking?
While at art college I learnt how to make monoprints, but the extent of the printmaking world was still unknown to me at this stage as I was studying jewellery and silversmithing, not printmaking. During my degree I realised I wasn't really a jeweller, but I loved all the portfolio work we had to do, so I decided to take that further.
When I arrived in Melbourne I found the Australian Print Workshop and enrolled on a weekend course. I loved it! and from then on I was hooked. It was like a whole new world of possibilities had been opened to me. I had always liked drawing and this was a perfect way to take my drawings further.

Describe where you work.
At the moment since I've just moved back home I'm working where ever I can. It's not ideal, but I keep an image in my head of the studio I'm longing to one day build when I get back to Australia! It's going to be huge and light and lots of shelves and a lovely big old printing press!
What's your favourite printmaking process?
I feel I'm still a novice really, I know there is so much more to learn, so I'm not really sure what my favourite process is. I do love the fine lines achieved with acid etching and the other possibilities such as aquatint and sugarlift using the same form of technique. I want to look more into these, play around a bit, experiment.

I feel I should also explore non toxic printmaking. I've always turned my nose up at it, yet my dream is to build an eco house and live as green as possible. This doesn't make sense! How could I live in an eco house with a toxic studio? So I think I need to readdress this!

What's your creative process for any given print? (eg. sketch first? Pre-planned or free-form?)
I find it very important to go out drawing first. I have to draw from life, although often 'life' is in the form of a dead stuffed bird in the museum. I also like drawing live birds and dogs down at the beach or in a park. Drawing from life (even a stuffed bird) gives your drawings life. I don't think you can quite get the same sense from a photo.
I then use my sketches as a basis for my prints. I have an outline of an idea of what I might want the print to look like but I'm always open for happy accidents. I'm not too precious about the results, sometimes I wish it was slightly more out of my control!

What do you enjoy most about printmaking?
I think it's got to be that moment, just after rolling the press, pulling back the blankets and peeling off your print and seeing it for the first time. Even if editioning, each time I lift the paper it's exciting.

What's your least favorite part of the process?
Sometimes I get frustrated at how long the process takes. I don't experiment as much as I should as a result. Also, of course, the cleaning up.
What are your inspirations (other artists, people, places, events, etc.)?
When I started printmaking I'd just arrived in Australia and I just couldn't get enough of all the birds. They were all so foreign and exotic looking to me and I hadn't a clue what they all were even though I knew most common birds in the UK. So in the beginning I used printmaking as a way to get to know these birds, you'll see all my earliest work depicts Australian birdlife. I looked at how others depicted these subjects and I love looking through links on other peoples blogs and finding new artists and printmakers dealing with similar subjects.

How has your work changed and evolved since you started?
I've only really been printmaking for 4 years and most of that time was learning different techniques, so I don't feel I've evolved a great deal, except in the number of different techniques achieved.
I have however started to really get into making books. I like the craft aspect of this, constructing, thinking in 3D, learning book binding, thinking about cover as well as the content. I find it challenging in a different way. I love ending up with a precious object, rather than an image for a wall.

How do you get past creative slumps?
I hate that feeling, sitting at your desk, knowing there should be something you could do, but nothing happening. I think the best thing to do is leave your desk. Go out. Look at exhibitions. Read peoples' blogs. GO DRAWING!
How do you promote your work?
I have a blog that I try and post on regularly, I take part in the etsy forums, and occasionally I twitter. But I find the best ways are normally through exhibitions and word of mouth. I was part of a few exhibitions in Melbourne before I left and as a result had some local newspaper articles written about my work. This led to people phoning me up and coming round to my house to see my prints and buying. I think it all just takes time to get known. I don't help it by moving countries every 4 or 5 years!

Any other comments or advice for others who want to try making hand-pulled prints?
There are lots of print workshops around, find out if there is one near you and see if they have any courses. They may seem expensive but it is well worth it and most of the time the price includes all the materials. Once you have a basic knowledge of how the process works there are lots of things you can do at home. I've just bought a mini press for about £300 and I intend to make collagraphs, which are non toxic and made of many materials you'd find at a local DIY store. Don't feel daunted by all the chemicals and acid, they are not necessary!
Also by working at a print workshop there will always be other people around. I learnt mostly from other workshop users. It's good to feel part of a little printmaking community, everyone helping each other. For me, enrolling on that printmaking course back in 2006 was the best thing I ever did!