Tiger Lily Press

2009-11-04T20:04:00.012-05:00

Sandra Brown of the Women's Studio Workshop in New York shared this video with the SGC list serve.

The Complex of All of These

A video made by Abigail Uhteg, artist-in-residence at Women's Studio Workshop in New York.

http://www.youtube.com/watch?v=l9a5hH5idQc

This stop-motion video uses 3000 images to show action covering printmaking, hand papermaking, letterpress, and book arts production. Abby was a WSW Artist Book Resident in May-June 2009. She completed an edition of 35 books.

WSW supported her project by providing a living stipend, materials stipend, travel costs, 24 hour studio access, technical assistance and housing for the two months spent there.

Anyone interested in participating in the artist book grant program can visit www.wsworkshop.org for program descriptions and application materials. The next deadline for applications is November 15th. They are also accepting applications for their art-in-education fellowship, studio internships and arts administration internship.

2009-10-30T17:13:00.005-04:00

"An Artist's Eye on Knowlton Street"

New Prints by Julie Lonneman

Opening Reception at NVision

Friday, November 6th 2009, 6 - 10 PM

"I'’m well acquainted with the stretch of Knowlton Street between Hamilton and Crawford Avenues in Northside. I travel these four blocks almost every weekday on the way to my studio in the Off-the-Avenue building. Traveling by foot or bicycle gives me ample time to observe the interesting aspects of this street. In this short stretch one can find homes, factories, businesses, a neighborhood bar, two organic gardens, a bicycle co-op, an art studio, a storefront church and a former funeral home.

I wondered if I could communicate my fascination with this perhaps overlooked corner of the city through my art. This series of ten relief prints is my attempt. In creating these works I deepened my own appreciation."

Julie Lonneman

2009-10-25T14:38:00.002-04:00

Congratulations to

Theresa Gates-Kuhr, Judy DiMuzio & Julie Lonneman

for having work included in,

"Collective Ink"
at
Massillon Museum
November 1st - January 3rd. 2010

Opening Reception on Sunday, November 1st. 2-5 pm

The exhibition will focus on contemporary women printmakers
producing art as part of four printmaking cooperatives in Ohio.

Featuring works from:
Tiger Lily Press, Dayton Printmakers Cooperative,
Phoenix Rising, Zygote Press.

More info can be found here.

2009-10-23T14:50:00.000-04:00

Ohio Printmaker's Co-op Meeting
Sunday, November 1, 2009 11:30 am
Massillon Museum
121 Lincoln Way East
Massillon, Ohio 44646

Massillon Museum has agreed to host the four Ohio Printmaking Coops that are part of the Collective Ink Exhibition for a meeting prior to the opening of the show. Dayton Printmakers Coop, Phoenix Rising, Tiger Lily Press and Zygote Press will gather to introduce themselves, exchange information and ideas about their studios and to generate relationships between the Ohio Printmakers. We will take photos to send to the Ohio Arts Council to encourage future support from them. There also may be the makings of an article for the MAPC or the SGC...we’ll see how that goes.

The Chit Chat Coffee Shoppe is inside the museum and will be available to provide lunch for us.
Sandwich/chips $4.50
Chicken Salad sandwich
Smoked Stack Turkey sandwich
Veggie Pita
BLT
Soup of the Day $3.00
Specialty Coffees, Sodas, Juices and Bottled water

When you arrive go to the Coffee Shoppe to order your lunch and pick up a drink. The café will prepare the food and then bring us our lunches while we meet.
They will need an approximate number of people so they are properly staffed. Please RSVP to me by Monday, October 26th with about how many people from your studios you expect to come. (Theresa Gates Kuhr gates299@zoomtown.com)
Those that do not wish to attend the meeting can meander around town until the Exhibition Opening at 2:00.

Please forward this on to members of your co-op that you feel would be interested. Come prepared with one person to introduce the studio, telling a bit about how it is run, fundraising, membership, events, etc.

Looking forward to the exchange!
Theresa Gates Kuhr
Co-Director Tiger Lily Press

2009-10-13T07:16:00.004-04:00

Elaine Zumeta,
a co-director of Tiger Lily Press since 2002,
has recently decided to step down from her position.
She has been very dedicated to the studio, and has worked
tirelessly over the years to help out in any way possible.
Elaine has done a great job as a director,
and we'll miss having her.

She assures us that she'll continue to be
an active studio member!

2009-10-08T12:18:00.002-04:00

New Prints Program, Winter 2010

Call for Entries Deadline - Friday, November 13, 2009

In keeping with our mission to promote the greater appreciation and understanding of the fine art print, IPCNY presents a selection of new prints four times per year. Criteria for selection are:

Only original fine art (limited edition and unique) prints are eligible; reproductions of other artwork such as drawings or paintings are not acceptable.
Selections will represent a broad diversity of sources, geographical and otherwise.
Prints must have been completed within a year of the submission deadline.
THERE IS NO ENTRY FEE. Independent artists, workshops, publishers and dealers are all welcome to submit recently completed print projects.

More info can be found here.

2009-09-25T15:41:00.003-04:00

Recordings
by Aaron Kent

September 25 Opening Night 6-10pm
at Enjoy the Arts
1338 Main St. Cincinnati Ohio 45202
513-621-4700
Show goes until October 23

Drawings by Aaron Kent
A departure from his preferred sculptural media, Drawings by Aaron Kent explores the artist's unique vision through large sketches. Heavily influenced by the skeletal body and physical form, Kent's expository artistic comment conveys a new beauty and tranquility.
This series of drawings are called Recordings. It's a drawing that records time space and whatever happens by chance or by the hands of people, artists, or nature. These drawing are put outside or in different areas to record what happens through art. The result it a very intricate staining of a story that unfolds.

2009-09-23T18:08:00.006-04:00

The completed moku hanga reduction print.

The image size is 6.5" X 8.5". I managed
to print 8 shades of gray before I ran out of wood.
I like to think that I learned many things
after doing this print technique, such as....

*Plan ahead and don't rush just because you're excited about a new method.

*Avoid working on a small scale, too difficult to get detail.

*Printing on damp paper requires a light touch, otherwise the
paper will become embossed with the baren pressure.

*Carve your block much deeper than usual, or the damp paper
will certainly dip into the recessed areas and pick up
unwanted ink.

*Print more copies than you'd expect too, it takes 7-8
prints just to get the ink built up on the block to the desired shade.

So with my one moku hanga print under my belt, I'm ready to
take my new-found knowledge (and respect for the method) to
embark on print #2.

2009-09-11T18:26:00.004-04:00

Wood Engraving Workshop with Wesley Bates

Wesley Bates, a world class wood engraver, will teach a three day workshop on
Nov. 6th, 7th & 8th, 2009 in Cincinnati.

The cost per person is $135.00 and includes paper, wood engraving blocks, and use of tools. Additional blocks and tools may be available for purchase.
The class size is limited to 12. The location of the workshop will be determined at a later date depending on the number of registrants.

Mr. Bates work can be seen on his website - here

If interested in attending the workshop,
please contact Theresa Gates-Kuhr at

gates299@zoomtown.com

2009-09-07T16:38:00.008-04:00

Adventures in Moku Hanga...

After practicing on scrap blocks and paper for a week or two, I
decided to take the plunge and attempt a *real*
print using this method.
I wanted to use my usual reduction technique to see
how well it would work. After all, the paper has
to be dampened, printed and then dried (for each separate shade of gray)
before being able to
move on to the next cutting stage and I wasn't sure how
the paper would hold up to that much abuse. So far, so good.

This is my set up for inking. Nori (rice paste) on the left,
diluted Sumi ink in the middle, and my inking brush
resting in the glass on the right.
Traditionally, the ink & nori are mixed together
directly on the surface of the block. I felt more
comfortable mixing on the glass slab
and transferring the mixture to the block
with the brush.

Ink/nori mixture is applied to the block
using a circular pattern first, and then brushing across
the wood grain to even it out. It's unlike "normal"
relief printing, because here the ink is so diluted that it
appears that nothing is on the block.
Sumi can be diluted with water to make every
imaginable shade of gray.
This is the fifth shade of gray that I'm printing, and I'll
probably do 2-3 more before I run out of wood.

Pulling a print here. I've made numerous mistakes
working on this block (luckily it's a small one!), but it's been
a valuable learning experience.
My normal way
of working on a block doesn't necessarily work
with this method. I like to use a dremel, which
raises a burr along the cut edge. That usually isn't
a problem, but here the ink/nori mixture
collects on the burr and tends to print darker
than the surrounding area.
It's also tricky determining the amount of
nori to ink ratio. if not enough is used, the ink will
print with a speckled appearance. Too much
and the block surface will get gloppy
and the paper could potentially stick
to the block.

The prints are laid out to dry a bit. The paper
tends to buckle and warp so once they are
almost dry, they get stacked on top of each other
and are pressed under a weight to flatten them out.
No need to worry about ink transferring
from print to print as the ink is absorbed into
the fibers of the paper as apposed to
laying on the surface like an oil based
ink would do.

2009-08-22T11:39:00.007-04:00

Conditioning the Maru Bake Brush

The Japanese Maru Bake brush is made of dense, coarse
horse hair embedded in a bamboo handle.
Prior to use, it needs to be conditioned by singeing, and later splitting, the hair
either on a hotplate, or with a flame. I chose the
hotplate method, thinking it would be easier to control.
I tied the bristles together with twine to make it more compact.
The hotplate is somewhat unpredictable in that it never
really got as hot as I wanted. But, eventually
the hair began to singe a bit.

Next, the brush needs to be soaked a bit in clean water
prior to the splitting process.

The brush is then vigorously rubbed on the dragon skin (a perforated metal plate),
rotating it in different directions as you go. I did this for about thirty
minutes before I noticed a difference in
the feel of the bristles. They were somewhat softer than
when I began. Larger brushes can take
as long as an hour or so to split.

Notice how dirty the rinse water is! I was surprised at how
much sludge was coming off the brush, not to mention the
"wet horse" smell!

In case you're wondering, the point of doing this
is to soften the bristles so that they will absorb
more water/pigment during the printing process. This has to be done
periodically as the brush begins to wear down.

2009-08-19T14:55:00.004-04:00

•••• • Moku Hanga • ••••

2009-08-16T19:03:00.007-04:00

....so for the last few years I've been working on woodcuts,
your basic run-of-the-mill relief type woodcut printmaking
that western printmakers do.
A year or so ago,
I became intrigued with the
Japanese style of woodblock printing called
Moku Hanga.
Unfortunately there aren't any Moku Hanga
workshops in, or around our area. There are a few available
in different parts of the US, but are rather expensive.

So, I recently bought this little info-packed book on the subject...

The book gives basic info on the history, materials and methods of
the technique. Just enough info to get me started....

Essentially, the technique involves using water based ink (or paint)
and mixing the pigment directly on the block with a little
rice paste (known as Nori) using special brushes to spread it across
the block, and then
printing on damp paper.
(The opposite of everything I currently do!)

A few days ago, I received my starter supplies from McClains,

The three brushes in front are (left to right)
Hanga Bake, Maru Bake, Steiner mixing brush.
The first two are used to mix the Nori and ink and spread it
over the block. The mixing brush transfers the ink to the block
from a container.
The large bottle is carbon black Sumi ink, the little container
holds the rice paste.
The wood block in the background holds "dragon skin",
which is a perforated metal plate. It's used to split
and soften the hair on the Maru Bake brush.
That brush is supposed to be singed on a hot plate
and then vigorously rubbed on the dragon skin
for 20-30 minutes to soften the bristles (something I haven't done yet).
In the coming weeks, I hope to do a test block (or several!)
to get a feel for the method before attempting an actual print.
Stay tuned, as I may post images of my first Moku Hanga attempts!

Here are a couple of great Moku Hanga websites
in case you find yourself intrigued by this method...

April Vollmer

Annie Bissett - Woodblock Dreams

David Bull - Tokyo Printmaker

Chicago Based Art Center

2009-08-12T14:30:00.003-04:00

LILLSTREET ART CENTER

www.lillstreet.com

When I went to the SGC conference this year I learned about several Printmaking Studios in the country. One that is not too far away and seemed quite versatile and active is LILLSTREET ART CENTER in Chicago. They have a broad range of artist opportunities from residencies, gallery and studio space, education and an outreach program. They have six different departments: ceramics, metalsmithing & jewelry, painting & drawing, printmaking, textiles, and glass. They have a kids program, camps, family workshops, and book parties and private events as well. They do it ALL!

To take a virtual tour of the space in case you ever get the chance to visit or are looking for a reason to make art in a different city check out the link below.

www.lillstreet.com/facility

Here are just some of their fall Printmaking classes: (It's amazing!!)

Screen printing on Fabric, Multilevel Etching and Intaglio, Between Paint and Print, Survey of Print Techniques, Mixed Media Relief and Monoprint, The Art of the Poster-Advanced Screen printing, Drawing for Plate Litho, Letterpress Holiday Cards, and Screen printing on Clay...

I want to go!!!!

Health and Saftey in the Arts

2009-07-29T19:24:00.004-04:00

If you have any concerns about or want to stay up-to-date on health and safety issues pertaining to the arts you can reference the following information:

Visit:

"Health and Saftey Articles"

www.chicagoartistsresource.org/node/15316

HEALTH IN THE ARTS

University of Illinois at Chicago School of Public Health

The mission of the Health in the Arts Program is to diagnose, treat and prevent arts-related disorders among people working in the visual and performing arts.

www.uic.edu/sph/glakes/harts

Books:

Artist Beware; Revised 2005

McCann, Michael

The Artist's Complete Health and Safety Guide, 2001

Rossol, Monona

Large Lino Cut from England

2009-07-29T16:41:00.002-04:00

I just received information from a gentleman named Mark Andrew Webber who lives in Reading, England and has just completed a Linocut that took him six months of research and design and two months to carve. It is a Map of Paris, 150cm x 180cm (@ 58" x 70"). He hopes to be making the prints soon as he has just found a press large enough to print it.

The information came through the Southern Graphics Council listserve. I asked Mark if I could share his information with our members through the blog and he happily accepted. I was impressd with his enthusiasm so I wanted to pass it on.

Check it out:

http://www.markandrewwebber.com/index.php?/ongoing/paris/

THE JOURNAL of The Mid America Print Council

2009-07-22T18:49:00.004-04:00

Examples from the Journal

PRINT Slang

Introduction and Editing by Erik Waterkotte

"A humorous, albeit practical, lexicon of printmaking studio vernacular from across the country...

The printmaking studio is a communal working environment, and often a unique language develops between printmakers..."

Theories of Printmaking

By Dr. Kelly Donahue-Wallace

"How do we think about prints? What do we expect them to do or to perform for us? What crosses our minds as we hold them in our hands and admire them on the wall? What constitutes a print at all and how do we feel about printedness or the intrinsic material, formal, social and historical characteristics of the medium? Why haven't we theorized print in the same way that we have photography?".........

To read the rest of these and other articles you can now go to the MAPC website and view the JOURNAL online!!

www.midamericaprintcouncil.org

Mid-America Print Council Members Juried Exhibition

2009-07-22T18:06:00.005-04:00

The Mid-America Print Council Members Juried Exhibition is currently accepting submissions.

The link for the prospectus and online submission is

https://www.usi.edu/libarts/mapc

The exhibition is being hosted by the University of Southern Indiana and coordinated by Joseph D'Uva and the USI Gallery Committee.

Juror:

Janet Ballweg, Professor of Art and Printmaking Area Head at Bowling Green State University in Ohio.

Entry:

All works must be original prints, books, or folios in any printed media including digital. Dimensions and/or frame size must not exceed 6 feet in any direction.

Artists may submit up to three digital images of original works. If accepted, all entries must be framed or equivalent and ready to hang/display for the exhibition. Submissions must be in JPEG format and submitted through the online application. Each image needs to be 300dpi and 8 inches on the largest side.

Entry fee:

$25.00 for up to three works. You must be a current member of the Mid-America Print Council. Membership can be obtained through the MAPC website. www.midamericaprintcouncil.org

Submission deadline:

August 1, 2009

Images, entry forms and fees due

Exhibition Dates:

September 13- October 30, 2009

2009-07-05T20:43:00.003-04:00

The Northern Print Biennale is the first major event for international printmaking in the UK in over 20 years.

A gallery of the selected works can be viewed here.

2009-07-04T10:03:00.001-04:00

NEW PRINTS PROGRAM

New Prints 2009/Autumn

Call for Entries Deadline - September 14, 2009

In keeping with our mission to promote the greater appreciation and understanding of the fine art print, IPCNY presents a selection of new prints four times per year. New Prints 2009/Autumn will be the 33rd New Prints Exhibition. Criteria for selection are:

Only original fine art (limited edition and unique) prints are eligible; reproductions of other artwork such as drawings or paintings are not acceptable.
Selections will represent a broad diversity of sources, geographical and otherwise.
Prints must have been completed within a year of the submission deadline.

THERE IS NO ENTRY FEE. Independent artists, workshops, publishers and dealers are all welcome to submit recently completed print projects. Please refer to the Submission Guidelines below. The Selections Committee, composed of six prominent members of the art community, will be announced in the coming weeks. All artists whose work has been selected will be notified by phone or email. If you have not received word by late September, check the “what’s new” section of IPCNY’s website for the list of artists included. PLEASE DO NOT CALL US. Artists and publishers whose work has been selected will be responsible for the framing and delivery of work to IPCNY by October 23, 2009. IPCNY will cover the return cost of delivery within reason. Due to the increased number of international submissions being selected, IPCNY can only contribute $50 dollars on return shipments overseas. Packaging must be provided by the lender for work being shipped outside of New York City. With this 33rd presentation of New Prints, IPCNY continues its role as an ongoing venue for the rotating display of exciting contemporary fine art prints. We look forward to seeing your recent projects. Thank you.

Complete info can be found at -

IPCNY

2009-06-12T16:09:00.003-04:00

Dunham Recreation Center and Arts Building

has extended their summer hours now through August 14. You can get into the Arts Building as early as 7:00 am throughout the week by obtaining the key from the Rec. Center. Be sure to have your renewed Dunham membership card with you. You can sign up for membership at the Dunham Recreation Center if you have not already done so.

Regular membership $15

Seniors (50 +) $8

Check out the updated TLP Summer Hours posted below for details.

2009-05-22T17:23:00.006-04:00

TLP Summer Hours

The Saturday open studio session for the month of June,

as well as figure drawing

have been cancelled.

In July, the Saturday open studio day,

in addition to the figure drawing

will be held on July 25th.

Figure drawing plus open studio Saturday

will be held on August 22nd.

Regular Arts Building hours:

Monday 7:00 am- 7:00 pm

Tues. thru Thurs. 7:00 am- 8:00 pm

Friday 7:00 am- 6:00 pm

Dunham Recreation Center 513-251-5862

Check out www.cincyrec.org/dunham

Your Dunham membership also gives you access to a 9 Hole Golf Course, Baseball fields, Computer Center, Fitness Center, Game Room, Gym, Meeting Room, Picnic Shelter, Playground, Sand Volleyball Court, Shallow Pool, Soccer Field, Softball field, Teen Lounge, Theatre, Wading Pool.

2009-05-19T18:55:00.003-04:00

Longtime Tiger Lily member and supporter,

Genie Goggin

recently had one of her monoprints
accepted into the
permanent collection of the
Print Department of the Boston Public Library.

Congratulations Genie!!

2009-05-06T19:20:00.004-04:00

"Lasting Impressions"

Print Exhibition at
Gallery Salveo

Opening Reception
Thursday, May 21, 2009
5:00 - 7:00 PM

The exhibition continues through July.

(Click image to enlarge)

2009-04-21T23:09:00.006-04:00

Southern Graphics Council Conference

CHICAGO

Below are a few photos from the SGC conference in late March. Theresa attended the conference and is looking forward to sharing her photos and thoughts about all that went on.

Screenprinting collaboration Friday evening of the Gallery openings.

Gift shop of artists' work at Columbia College

Anchor Graphics Studio

Vendors and Publishers fill the hotel's lower level

Single Page Book Demo at Columbia College Book Arts Center