Donna Foley Artist Statement for XXX+WHY Group Exhibition 1 May - 27 June 2010

Hello, thank you for reading my blog on printmaking.

The following artist statement is of fellow printmaking artist Donna Foley exhibiting in XXX+WHY at Pinnacles Art Gallery, Townsville, Australia. Her work is not too removed from my objective of working with a site that is scarred from commercialization with disregard to the use and functionality of the site once productivity has ceased.
CTRL  x CTRL v   

The image and symbol of x are explored in two series of works in this exhibition.  Though quite dissimilar in appearance and treatment of traditional and contemporary print-media, both explore various levels of communicative action through materials and process. 

On a superficial level "Ctrl x Ctrl v" (Cut and paste) explicitly underscores  the social protest ethic as it relates to the logging of old growth forests in Tasmania.  The implicit theme explored is unexpected complicity, the level of one's own involvement expressed through the use of vinyl as opposed to paper, and through one's own actions, for example, as a tourist, home decorator,  printmaker and user of technologies and even as gardener.   Many of us are often quick to adopt the high moral ground in protest against numerous cultural and environmental practices; however, we fail to acknowledge our own part in such practices.  The production (and use) of paper sustains forestry practice.  As a printmaker, paper is intrinsic to practice, particularly in traditional approaches to making prints. 

X FACTOR SERIES

The second series," The X Factor", explicitly represents communicative action through gesture. Implicitly, the works are informed by the theories of the Humanist/Scientist/ Mathematician /Philosopher,  Douglas Hoffstadter (GEB (1945), I am a strange loop (2007)).  In addition to other forms of interaction, these works explore his ideas, for example, of recursion and figure-ground (negative/positive).

Happy Printmaking,

Warmly,

Jo Lankester

© Jo Lankester 2010




P.S. Discover how to turn your passion of printmaking into a sustainable business go to www.howtogetstartedinprintmaking.com

P.P.S. Twenty years from now you will be more disappointed by the things that you didn't do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbour. Catch the trade winds in your sail. Explore. Dream. Discover.

Mark Twain

P.P.P.S Contact me directly at jo.lankester@gmail.com to purchase my recent print pictured in this blog which is currently on display in XXX+WHY, Jo Lankester, +X, 2010, Collagraph, 80 x 60 $200.00 AU

Printed Images by Australian Artists 1885-1955 (v. 2)

Jo Lankester Artist Statement for XXX+Why Group Exhibition 1 May - 27 June 2010

Welcome to my blog on printmaking.                                   © Jo Lankester 2010

Echlin Street Quarry, West End, Townsville      

I create prints depicting the landscape, not just from a representational view, but also an emotional response to the landscape. When I use the combination of drawing and mark making mixed with emotion my works shifts to abstraction, hinting towards landscape but allowing the viewer to read other possibilities in the work.

My work is site specific. In each project or group of prints that I create for exhibition there is an intent to tell a story and give a true sense of place and ideas explored whilst on location, in this case the Echlin Street Quarry, West End, Townsville.

My interest in producing large scale abstract works was developed in my last year of University at the Victorian College of the Arts, Melbourne in 1994, during a field trip to country Victoria. My inspiration was found in the surface of rocks, and in particular the patterns and colours of lichen. I felt compelled to portray the patterned surfaces in the printmaking medium which took on characteristics of abstract landscape. Working on a large scale enabled me to convey the enormity of what I see and feel on location and fit the whole translation onto the plate without restrictions.

My intention is to capture the elements I am exposed to and translate them through mark making directly on the plate, often using rocks or sticks from the environment in the act of creation; to scratch and paint sugarlift on to the surface of the printmaking plates. Connecting with the site on this level is an integral part of my artistic process and engages me on a very powerful level.

I get great satisfaction from preparing the plates, packing a back pack of materials and taking a hike, even if it means carting heavy and often hot aluminium or copper plates up steep hills, through high grasses, or, as was the case at Echlin Street, up a washed out quarry road that had water rushing over it. A beautiful element when working on location is the action of working directly onto the printmaking plate. I can select and delete visual information easily, as opposed to working in my studio from a photograph. While photographs can depict the physical appearance of the landscape, they omit the energy of the site, my reaction to this energy being central to my visual practice.

Unsettling feelings and self doubt can sometimes creep in once I get back to my printmaking studio to prepare the plates for etching. There is a moment in time when I reflect on what I have created and ponder if it is right, if I have succeeded in creating art worthy of exhibition. Ultimately, I have faith and trust in my judgements and move forward.

I enjoy the magic of washing out a sugar-lift and seeing the wild marks I have created using found objects on location, then trusting in those marks to etch and aquatint the way I intended. It is an inconsistent process, one that can deliver brilliant results first go, or be very lengthy to achieve the desired aesthetic.

I am very much in love with the printing process; getting to know the plate intimately as I ink and wipe the plate, familiarising myself with the intricacy of different sections, choosing the colour inks and trying different variations until the print demonstrates my intentions.

Happy printing.

Warmly,

Jo Lankester

P.S. For your fee printmaking expert interview series go to www.howtogetstartedinprintmaking.com

P.P.S. To purchase my print pictured above, Jo Lankester, Echlin St Quarry Juxtaposition 1b, 2010, Etching Aquatint, 80 x 60 cm $270.00 Edition 10 I can be contacted on jo.lankester@gmail.com or +61400626313
Fortune favours the brave.

Publius Terence

Printmaking in the Sun

Glen Skien Australian Printmaking Artist

Hello, thanks for taking the time to read my blog.

Yesterday, Friday the 7 May, was the opening of the Australian printmaker Glen Skien exhibition at the Perc Tucker Regional Gallery, Townsville. It was a fantastic turn out of attendees to celebrate his latest body or artwork.
Glen Skien's introduction to printmaking was at the Barrier Reef TAFE, Townsville then a graduate from James Cook University, Townsville before moving to Mackay where he established the Silent Parrot Press.
This latest body of work is a combination of assemblage and etchings and is a wonderfully inspiring body of work. The combination of textures objects and beautifully executed prints makes for the most satisfying trip to the gallery.
The artwork pictured is currently on display in his exhibition Alter from 7 May until 15 August 2010.

Glen Skien, From the library of phenomenology vol. 22, 2010, book assemblage, 30 x 15 x 3 cm.
Happy printing.
Warmly,
Jo Lankester

P.S For your chance to discover how to build a sustainable printmaking business go to www.howtogetstartedinprintmaking.com
We are what we repeatedly do. Excellence, then, is not an act, but a habit.
Aristotle
Australian Printmaking in the 1990s: Artist Printmakers : 1990-1995

Exhibition opening XXX+WHY Pinnacles Art Gallery, Townsville

Hello, and welcome to my blog.

We have recently installed our group exhibition XXX+WHY at Pinnacles Art Gallery, Townsville Australia and the official opening is tomorrow, Saturday 8th May at 2pm. I have included the exhibition rational for your reference.

From the 6th Century woodcut, formally known as xylography, to the digital image of the 20th century, print media have evolved through diverse forms and practices.  21st century printmakers continue to explore many of these forms to interpret contemporary themes in art practice.  XXX+Y brings together four local artists, Jo Lankester, Donna Foley, Kelly Bianchi and Doug Arana, whose practices represent the breadth of printmaking.  Forms including wood engraving, linocuts, collographs, screenprint, etching and drypoint sit together well with digital imaging and animation.

Printmakers share a love of drawing, of paper, the tactile nature of markmaking, the visual appeal of fresh ink and particular processes involved in the production of prints.  However, the miasmic nature of the printing process has compelled printmakers to integrate innovative techniques and materials into their practice.   XXX+Y is an exhibition of the current practice of these artists.  Each has pushed their selected mediums to include new methods and materials including aluminium, laminates and vinyl and techniques which include for example, the use of stickers, stencils and rotoscoping.  Themes explored range from a sense of place and identity to communicative themes and personal expression.

The exhibition will be on until 27 June 2010.

Happy printmaking.

Warmly,

Jo Lankester

P.S Discover how to turn your passion into profits go to www.howtogetstartedinprintmaking.com

P.P.S Fortune favours the brave.

Publius Terence

Exquisite History

How to Get Started in Printmaking: Zerkall Printmaking Paper Part 2.

Welcome to my blog regarding all things relating to printmaking.

This post is part two on the extensive range of the printmaking papers produced by the Zerkall mill, Germany.
Zerkall and Hahnemuhle, (German) both have similar characteristics with a soft 'water-leaf' feel both printmaking papers are favored by many as the most responsive and sensitive papers for aquatint printing. The Zerkall mill is also renowned for its soft lightweight bookmaking papers in both 120 gsm and 145 gsm. The 120 gsm  weight paper has an unusual irregular laid lines, making the paper resemble a sheet of very old hand made paper.
Copperplate, Mould Made Intaglio Paper, wove, waterleaf. 150 gsm, 76 x 106 cm, rough surface and cotton content comes in two colours white and cream.

250 gsm, rough surface 55.3 x 76 cm, rough surface and cotton content, comes in white and cream.

250 gsm, rough surface, 76 x 107 cm, rough surface, cotton content, comes in white and cream.

Copperplate is suitable for etching, embossing (except for 150gsm paper) letterpress printing and pastel

Mould Made Intaglio Paper, wove comes in two sizes and various weights; 350 gsm, white, 55.3 x 76 cm, rough surface, cotton content.

350 gsm, 450 gsm, 600 gsm, white, 76 x 108 cm rough surface, cotton content. suitable for silkscreen, hand lithography, etching, embossing, letterpress printing, and pastel.
Mould Made Printmaking Paper, wove comes in white with both rough and smooth surface and has a cotton content. It comes in two weights and sizes, 250 gsm 76 x 107 cm and 300 gsm 99 x 140 gsm. This paper is suitable for silkscreen, hand lithography, offset, etching, embossing, block printing, letterpress printing, pastel and pencil
LITHO VI, Mould Made Printmaking Paper, wove 75% cotton comes in white with both rough and smooth surface, watermark (except for the 300 gsm 80 x 120 cm)
210 gsm 50.8 x 65 cm
250 gsm 55.3 x 76 cm
270 gsm 76 x 107 cm
300 gsm 80 x 120 cm
LITHO VI is suitable for silkscreen, hnd lithography, offset, etching, embossing, block printing, letterpress printing, pastel and pencil
ARTRAG, Mould made Printmaking Paper, wove 100% cotton comes in white with a rough surface only. It comes in two weights and sizes
250 gsm 55.3 x 76 cm
300 gsm 76 x 107 cm
ARTRAG paper is suitable for silkscreen, hand lithography, offset, etching, embossing, block printing, letterpress printing, pastel and pencil.
Mould Made Printmaking Paper, wove This is an off white rough surface paper with cotton content and is of a single weight of 340 gsm paper and one size of 50 x 68 cm. This paper is suitable for silkscreen, hand lithography, offset, etching, embossing, block printing, letterpress printing, pastel and pencil
Mould Made Printmaking Paper, wove, 100% cotton This white, rough surfaced 600 gsm paper comes in two sizes, 53.5 x 76 cm and 76 x 108 cm and is suitable for silkscreen, hand lithography, etching, embossing, block printing, letterpress printing, pastel and pencil

Happy Printing.
Warmly,
Jo Lankester
P.S Go to www.howtogetstartedinprintmaking.com and discover how to turn you hobby and passion into profits.
P.P.S It is hard to fail, but it is worse never to have tried to succeed.
Theodore Roosevelt
Tamarind Techniques for Fine Art Lithography

How to Get Started in Printmaking: Zerkall Printmaking Paper

Hello and thank you for taking the time to read my blog on printmaking.

Zerkall paper mill is a water driven mill located in the valley of the small river named Kall in the country side south of Dueren situated between Cologne and Aachen. Official documents record the mill first in production in the 16th century.
The small mill was refurbished in 1903 when it was bought by Gustav Renker, the Swiss engineer. He expanded and refurbished the mill to produce mould made paper with four deckle edges on a cylinder mould machine. Zerkall paper was first introduced to the European market then exported to the USA in the 1920's and quickly established itself as a reputable paper mill known for quality mould made paper.
Presently, the fourth generation of the Renker family is running the Zerkall mill and they produce a full range of mould made papers from stationary items containing sheets, cards and envelopes as well as a large variety of mould made paper for fine printing, printmaking, book art, watercolour and drawing.
The mould made papers range from 90 - 600 gsm and in white and colour paper. and various finishes, such as smooth, rough and hammered surface finish. The mill also produces wove, laid and wavy laid paper.
All the qualities are acid free, neutral sized, alkaline buffered with calcium carbonate and contain no optical brightener.
Mould Made Printing and Printmaking Paper, laid. 225 gsm, 48 x 64 cm rough/smooth surface, cotton content come in white, light grey, light blue and rose. Used for silkscreen, hand lithography, offset, etching, embossing, block printing, letterpress printing, book arts, pastel and pencil.
Mould Made Printing and Printmaking Paper, wove. 225 gsm 63.5 x 76 cm, rough/smooth/hammered surface, cotton content, comes in white and cream.
230 gsm 61 x 86 cm, smooth surface, felt-marked, cotton content. Comes in white and cream. Both papers are suitable for the following applications: silkscreen, hand lithography is suitable for only the 225 gsm weight paper, offset, etching, embossing, block printing, letterpress printing, book arts, pastel and pencil.
Mould Made Intaglio Paper, wove. This paper comes in white and weights of 150 gsm and 250 gsm, 76 x 107 cm with a rough surface. It is suitable for etching, embossing (250 gsm only) letterpress printing and pastel.

I will continue the printmaking paper details in my next post.
Happy printmaking
Warmly
Jo Lankester
P.S. To get started in printmaking and receive your free webinar interview series with expert printmakers go to www.howtogetstartedinprintmaking.com
P.S.S I challenge you to make your life a masterpiece. I challenge you to join the ranks of those people who live what they teach, who walk their talk.
Anthony Robins
A survey of hand-made and fine mould-made papers

How to Get Started in Printmaking: Stonehenge Printmaking Paper

Hello, thank you for reading my blog on printmaking papers.

In my previous posts on printmaking I have discussed numerous printmaking papers for various printmaking techniques. Today I will be looking at the USA printmaking paper Stonehenge.

Stonehenge printmaking papers are 100 % cotton papers made in North America by Legion Paper. Stonehenge was introduced to the market in the early 1970's and quickly made it's way into artists studios. The paper contains acid free cotton linters and is a good paper at an affordable price for students and limited editions. The paper has a relatively smooth surface lending itself to etching and relief printing, screen-printing and monoprinting, as well as mixed media work and drawing. The printmaking paper is available in two weights 240 gsm & 300 gsm,  and two sheet sizes 56 x 76 cm & 76 x 112 cm, it is also available in a roll. It is available in a range of colours.

Happy printing.

Warmly
Jo Lankester
Always bear in mind that your own resolution to succeed is more important than any one thing.
Abraham Lincoln
Stonehenge Paper White 90lb

How to Get Started in Printmaking: Lana Printmaking Paper

Hi, and thank you for reading my blog.
Lana printmaking papers are made in a little independent French mill located in the village of Duxelles. The mill was founded in the 16th century supplying the monasteries and a university in region of Duxelles. In 1795 the mill was refurbished with new equipment  with a cylindrical beater allowing the mill to increase it's paper production to the growing demands of Lana papers. The mill closed at the beginning of World War 1 and reopened in 1922 with new equipment and and staff who exported Lana papers throughout Europe gaining quite a reputation with many fine artists and printmakers including Miro and Dali. In recent times the well known paper producer International Paper invested 10 million dollars to modernize the mill and Lana continues to supply an international market of a broad range of quality archival papers. The mill is renowned for quality control and French sizing
Lana paper is the producer of excellent printmaking papers similar to Arches Rives, it is heavily sized, but at a lower price. 
Lana Royal - Printmaking This paper is often selected for its pleasant off-white warm colour. It is relatively lightly sized for a printmaking paper, and similar to Hahnemuhle except for it being 100% cotton, and Hot Pressed like Arches 88. It has a deckle-edged and comes in weights of 250 gsm and 300 gsm and two sizes, 78 x 106 and 53 x 78 cm.

Lana Aquarelle - Oversize comes in Fin and Satine both 100 x 150 cm and weighs 640 gsm.
Lana Aquarelle - Rolls are 100% cotton and are 1.3 meters wide x 10 meters in length wound on to a large diameter core reducing the paper curl. The rolls come in two weights of 300 gsm and 640 gsm.

Happy printing.

Warmly, Jo Lankester
The Printmaking Bible: The Complete Guide to Materials and Techniques

How to Get Started in Printmaking: Fabriano Printmaking Paper

Hello and than you for taking the time to  read my blog on printmaking.
This post is a continuum on various printmaking papers including a brief history on individual paper mills.
The Italian company Fabriano have been paper-makers since 1275 A.D. Fabriano traded paper from the Adriatic port of Ancona in an open trade with the Arabs and quickly established themselves as the principle site of paper manufacturer in Europe. The Adriatic sea is an arm of the Mediteranian Sea between Italy to the west and Slovenia, Croatia, and Yugoslavia to the east. From there Fabriano became the distributor of paper to all 4 continents.
Paper production saw a great boom during the Renaissance before a decline in the 16th and 17th centuries. The Industrial Revolution re-launched the paper mill at Fabriano. Pietro Miliani profited from this period to create the Cartiere Miliani paper factory in 1782. 
Pietro Milani developed this business to a prestigious, high-ranking company in Fabriano. His focus was on drawing paper and those suitable for printing and manuscript writing. His grandson Guiseppe Miliani also saw the potential in the paper industry and with a good understanding of business took the company to new international status for high industrial complexity and this won Fabriano a gold medal at the London Exhibition in 1851. After that Giovambattista Miliani, directed the company at the beginning of the 20th century he was the last Miliani family member of the company, which was nationalised in 1931, and renamed Cartiere Miliani Fabriano in 1947.
Fabriano Tiepolo paper is a warm white mould printmaking paper made of 100% cotton and is superb for etching especially for deeply bitten plates. It is also suitable for screen printing. It come in two sizes, 70 x 100 & 56 x 76 cm and 290 gsm
Rosapina Etching paper is a relatively unsized soft paper suitable for aquatint, screen printing and lithography. A great student paper suitable for assessment prints. The paper is pH neutral and comes in a white and buff , 70 x 100 cm & 50 x 70 cm
Fabrinao 5 is a 50% rag paper is surfaced-sized suitable for both silkscreen and lithography printing. The surface of the satine paper has a light drawing tooth and is an off white tone. It comes in two sizes 70 x 100 cm & 50 x 70 cm and 300gsm.
Fabriano Roma is an off-white handmade 100% cotton lightweight paper of 130gsm and comes in one size 48x66cm. 

Happy printing,

Warmly 
Jo Lankester
P.S If you want to discover how successful printmakers got started in printmaking then get your free printmaking expert interview series from www.howtogetstartedinprintmaking.com  today!

Learn from yesterday, live for today, hope for tomorrow. The important thing is to not stop questioning.
Albert Einstein

Speedball Ultimate Screen Printing Kit

How to Get Started in Printmaking: Magnani Printmaking Papers

Hello and welcome,

This post is the third in a series informing you on the different types of printmaking papers available and a little history on traditional paper mills.
Magnani
The Magnani paper mill was established in 1404, when the first settlers to this area of Italy built the mill along the banks of the Pescia river, the pristine waters of the river are a fundamental ingredient for high quality paper production and continue to contributed to the reputation of the Magnani paper mill. The mill was originally called Gusdchiera (the falling mill) and changed it's name to Le Carte (the papers). By the 18th century, the Magnani paper mill was exporting papers all over the world. The mill developed a prestigious following by Europe's reigning families as well as the state mints of many countries who appreciated the quality of the security papers produced at the mill on cylinder machines. 
Today Magnani Papers have a well earned and deeply grounded reputation as manufacturing among the best papers in the world. Watermarked papers, book papers, etching and lithography papers, writing papers, board and drawing papers are all highly qualified and sought after.
Magnani Incisioni is an excellent all round paper suitable for intaglio, lithography, relief and silkscreen. The paper is mould made and lightly sized, Incisioni is made of 50% cotton & 50% alpha-cellulose and comes in a range of smooth white or ivory and the weight ranges from 190 gsm-350 gsm.
Magnani Litho is made for lithography, as the name implies, offset, relief, silkscreen, intaglio and comes in a smooth white or dark ivory. The paper is made from 50% cotton & 50% alpha-cellulose and the weight ranges from from 310 gsm-350 gsm.
Magnani Corona is textured white and a smooth white paper suitable for lithography, offset, silkscreen, drawing and painting, The paper is made from 50% cotton & 50% alpha-cellulose and the weight ranges from 300 gsm-400 gsm.
Magnani Pescia comes in a variety of colours and finishes, for a variety of applications. It is made of 100% cotton and only come in a 300 gsm weight.
Magnani Acquerello comes in a range of textured off-white tomes suitable for watercolour, printmaking, gouache, acrylic and oil in weights from 300 gsm-550 gsm and is made from 100% cotton.
Warmly
Jo Lankester


Always bear in mind that your own resolution to succeed is more important than any one thing.
Abraham Lincoln


Magnani Pescia Paper Blocks - 14 x 20, Block, 20 Sheets