Category Archives: Printmaking

Life Forms at the Art and Design Center

Here’s an update on Life Forms, my solo exhibit, at UC Berkeley Extension’s Art and Design Center:

Flyer

I installed the show a day early, so it’s up and available for viewing.  I’m pleased with how great it looks in this space.  I chose work from my portfolio created for the Post-Baccalaurate Certificate in Visual Arts plus a couple newer pieces.  The show is at

UC Berkeley Extension

Art and Design Center
95 Third St.
San Francisco, CA
Aug 7-21, 2014

 

Gallery hours:

Mon – Thu 9am-9pm
Fri – Sat 9am-4pm

 

I’ll be there for the artist reception on Saturday, Aug 16, 2 -4 pm and also on Thursday, August 21, 5 – 8 pm for the Yerba Buena Third Thursday event.

Life-forms-show-3

Life-forms-show-2

Life-forms-show-1See photos of my entire portfolio here: http://www.priscillaread.com/life-forms.html.

Spring ’14 Public Exhibition

 

Inexorable: Spring 2014 Public Education Exhibition, Juried by Conrad M. Meyer

Two of my prints combining linocut and silk screening techniques learned in this spring at San Francicso Art Institute and Chrysalis Studios will be in this show.  If you get a chance, swing by and catch this show. I’ll be at the closing reception on June 7, 4-6 pm at San Francisco Art Institute.  Here’s a link to the official announcement.

Spring 2014 Invitation

June 2-7, 2014

Open 9AM-5PM Daily
Closing Reception: Saturday, June 7, 4-6PM

Diego Rivera Gallery
800 Chestnut Street
San Francisco, CA 94133

Description:
“The works in this exhibition look at elapsed time through a still moment that illustrates the inexorable decay and future equilibrium of existence. For every single moment in time, more follow ad infinitum, and the result—although open to interpretation as positive or negative—cannot be controlled and or predicted. These varied works, created during the spring semester by Public Exhibition students, offer a glance into this stretching of time.”

Artists:
Andrew Ajemian, Dave Berger, Amy Cella, Jim Cota, Steven Cox, Elizabeth Demakos, Chris Dyer, Eddie FitzGerald, Judith James, Jeffrey Kerrin, Sam Manera, Nikki Nolan, Nicole Puller, Priscilla Read, Kimberly Rowe, Rony Sagy, Ann Simms, Emma Sparer, Jade Zabrowski

About the Juror:
Conrad M. Meyers II is an artist and educator who creates fictive biological puzzles that include video, sculpture, and sound-based installations.  His installations have been shown most recently at Vanity Projects in New York, Krowswork in Oakland, and Queens Nails Projects in San Francisco. He works professionally in custom design, fabrication, architecture, and construction and has ten years of experience teaching and supporting 3D spatial design software. He has a degrees in Architecture and Sculpture and received his MFA from the San Francisco Art Institute in Sculpture in 2008.  In 2011, he cofounded Aggregate Space, an Oakland gallery, screening facility, fabrication shop, and design studio.  In addition to being the director of the gallery, Mr. Meyers curates their film series and conducts lectures on film history and its popular cultural significance.

A Keen Print

It was a busy week, and I didn’t have time to do any homework for my printmaking class.  I usually do my carving at home, so I can spend most of my in-class time using the press.  As I was getting ready to head over to the class at Chrysalis Studio in SF, I grabbed my supplies and was thinking of what I could do in class without too much effort.  One of my goals for this session in Luminous Linocuts was to create a two plate lino cut print.  I thought I would just have to draw “something” quickly in class and carve two plates. I suddenly remembered my sketchbook and thought that I must have a recent drawing that I could translate into a print.  So I flipped through the sketchbook and decided to tackle this shoe drawing that I did earlier this month.

KeenKatie Gilmartin helped me analyze the drawing and determine what to put in each plate. I decided to put the upper part of the shoe and insole on one plate and the lower part of the shoe (including part of the insole) on another.  The insole part would overlap, helping with registration and creating an area where the two colors would overlap.  Katie showed me how to register the images so they would be perfectly aligned when I printed the two plates on one piece of paper.

Keen-Plate-2I reversed the drawing using the light table, then carved like a mad woman.  I was able to carve the two 4″ x 6″ plates and make one print (and one ghost print) by the end of the three hour class.  Somehow, during carving, I got the “N” in Keen backwards!!!Keen-Plate-1 Our two colors that evening were orange and raspberry, so I used orange on the lower plate and raspberry on the other.  There were only five minutes remaining in classs, and everyone had some last minute printing to do.  Very exciting moment when my print came off the press, perfectly aligned!!! Here’s the resulting two color print.

keen-shoeHere it is in a second colorway – printed 21May2014 on white paper

Keen-shoe-2

Two new prints

A few weeks ago I completed a silk screening class at San Francisco Art Institute with artist Jonathan Palmer.  I was inspired by some of his prints where he combined silk screening and relief printing and decided to create my own series using these techniques.  I posted about it here.

I created three related prints with a background nest-like structure, plus bird elements, such as feathers, wings, and birds. Then I printed linocut body parts over this.  The project is still in progress, but I’ve completed all the prints and machine quilting for two of the pieces. I did some experimenting with the stitching and found that adding some thin batting added depth and texture.  Without that, the stitching didn’t seem to add much.  After completing the quilting, I mounted the pieces onto 18″ x 24″ stretcher bars.

Read_StructureStructure
18″ x 24″

 

Read_-Cor-ValuesCor Values
18″ x 24″

SkullsSkull Prints
Need to dry about 6 weeks.

Silkscreen meets Lino

Several months ago I created this linocut of a heart.  The photo below shows my initial sketches, the carved linoleum, and the print on paper and on fabric.  I wanted to take it further, but wasn’t sure what I wanted to do with it.

Final-Crit---HeartsI’m currently enrolled in a six week silkscreen printing class at San Francisco Art Institute with artist Jonathan Palmer.  The class has just three other students, so we have plenty of time to get help with the techniques that all take time to learn.  I am intrigued with the idea of combining silkscreen images with some of my  linocuts.  The heart lino seemed like a good starting point for exploring this.  Here are some photos of my first project where I silkscreened a hand drawn nest-like background and some wings, then printed the heart over it.  I’m pleased with the result.

WingedHeart

 

Rain Dance

Here’s an update on the printed piece started during a quilting retreat in Healdsburg.   I finished it today and titled it Rain Dance.

I was inspired to create a California themed linoleum block print on a background pieced from yellow and white scraps (more here).  The colors and silhouetted dry seedpods represent our current too dry weather in California.  I accented the printed background texture with metallic threads to represent rain.  RainDance

Rain Dance 24″ x 20″

RainDanceDetailRain Dance (Detail)

Update: Mar 13, 2014 – This piece will be included in Northern California Inspirations at the San Jose Museum of Quilts  from May 6 – July 16, 2014.

Piece, Print, Quilt

When Katie’s Luminous Linocuts class started up again a couple weeks ago, I decided to create a large print on a  background pieced from yellow and white scraps from a recent quilting retreat at Bishop’s Ranch in Healdsburg, CA.  I wanted the background to create a landscape feeling with a darker silhouette of plants in the foreground.  I considered appliquéing the silhouettes onto the background, but thought it might be fun to try printing it onto the fabric.  I drew the design onto a large 24″ x 20 piece of lino, dividing it into sections so it would be easier to ink up with a 12 inch roller.  Then I carved the lino for about a week.

Pod Lino

I did some test prints on paper, then printed the design onto two different pieced tops.  The first, shown below, was a test, just to make sure my idea would work before printing on the yellow and white fabric.

Pod lino print IOnce I was satisfied with the result, I printed it onto my yellow and white fabric.  I like the interesting effects achieved by printing on fabric, especially areas where the seams or the fabric created resists in areas. (Click on the photos to see the detail.)  Next step – add stitching. Pod lino print II

More Monotypes

In Katie’s last monotype printing class for the year, I decided to continue experimenting with fabric to create texture and pattern in my monotype prints.  I brought in some pieced and stitched or quilted fabric sitting around in my studio.  My experiments started with inking up the plate with a few colors creating interesting shapes with the brayer, I placed the pieced fabric over the place, then put it through the press, so the texture of the fabric became imprinted into the ink on the plate.  I printed the resulting plate onto paper.  Here are a couple created using that technique:

Monotype--Pieced-Fabric2

Monotype--Pieced-Fabric

I decided to see what would happen if I applied the ink directly to the fabtic, then printed it on paper.   Here are a couple with that technique.  In the second example I added a fern to the mix.

Monotype-Printed-Fabric

Monotype-fern

I continued playing with inked leaves and layers of stitched paper for the remainer of the evening. It just kept getting better and better.  Can’t wait to continue with this in 2014!

Monotype-Leaves Monotype-Ginkgo

Deconstructed

In October I attended a two day workshop with Kerr Grabowski learning her deconstructed silk screen printing techniques.  Her methods include creating designs and textures on fabric using thickened fiber reactive dyes, then printing the designs onto fabric.  I created a good “stash” of fabric during the two days and some more when I got home, then spend some time considering how I could use the fabric in my current series, Life Forms. I created the following two pieces.

The first is an instillation piece with shards of the silkscreened fabric sewn onto three long sections of silk organza.  I added additional stitching and text using oil pastel.  This morning, I auditioned it in one the windows at the UC Berkeley Art and Design Center in San Francisco to see if I had achieved my desired effect.  I was particularly pleased to see how striking it looked with a view of the Museum of the African Diaspora (MOAD) through the transparent pieces.

shards-1

I am working on a second piece based on these fabrics. I plan to make three panels from whole cloth deconstructed prints. By whole cloth, I mean that the cloth is presented exactly as printed, without any piecing.  I’ve completed two of the panels so far, and the third panel is still in progress.  The circles on the fabric are echoed with machine stitching using contrasting thread.

deconstructed-web

Monotype Experiments

I had a delightful evening at Katie Gilmartin’s Mesmerizing Monotypes class at Chrysalis Studio at SOMArts.  Earlier this year I took her linocut classes, and had such a blast, I thought I’d give monotype a try.  The other students in the class were experienced with the techniques, so everyone just dove right in.  Katie gave a demo on some basic techniques and got me going.  As a fiber artist, I naturally gravitated to playing with scraps of lace, burlap, and other fibers to create texture and images in printmaking.  Here are some of my favorite experiments from the evening.

Monotype_1

Monotype-3

Monotype-4

Monotype_2

I couldn’t resist playing with numbers and letters – rearranging the letters of my last name – used the brayer to “paint” in areas of color and a piece of wadded avocado netting to create swirls.

Monotype-5