Saturday, August 8, 2015

paula winchester - kc printmaker

Monotype created by wiping ink off acetate surface, Paula Winchester used the edge of cardboard, an ear swab, toothpicks, and a rag to clear areas. It took half hour to make this image. She took an adult art class at the Nelson Atkins Museum in Kansas City, under Suzanne Geringer. Video is two minutes.

Double click on images to see enlarged.

" I took the Picasso and More class at the Nelson where I got to make a monotype print and an intaglio print. By my doing it even makes me appreciate more that which I see. I am in awe.  I hope my depth of knowledge grows and that someday I will purchase some (prints).  " Paula Winchester

Picasso exhibit at Nelson Atkins Museum inspired freehand images by Paula Winchester. In the Picasso and More class, students created monotypes and intaglio prints. Ink was removed from acetate plate with wipe motions. Impressions measure 12 by 9 inches. Video is two minutes long.


A fourteen year old daschund named Zen is all heart in two monotype impressions by Paula Winchester. How she embellished the work with pastels after the ink had dried. Both impressions measure 12 by 9 inches. Video is three minutes. 

Drawing from which Winchester created Swallow impression. 
Blue acetate is thin plastic. Sharp tools draw gouges which will hold ink.
 Intaglio and monotype by Paul Winchester.

In the last class of Picasso and More, Paula Winchester used a drawing of Portland swallows to combine two processes, intaglio and monotype. The results are multi-colored and new to this Kansas City resident. Paula shares her experience. Video is six minutes.
Winchester is a member of the Nelson Atkins Print Society. She took part in Picasso and More, adult art class in education department of Nelson Atkins Museum of Art in October of 2012. For more information on upcoming adult art classes contact http://www.nelson
Her website is You can see her pastel drawings here.

Saturday, July 25, 2015

Saskia Lehnert - kc printmaker

The inner resolve of a print maker is like no other. To gain a better understanding I met with Saskia Lehnert for an interview. What blew me away was her commitment. She willingly spent hours on hours over months, using a hand pushed tool to drill each hole on her wood plate to create a massive dot pattern. 
See the varied size holes BELOW. Ink impressions of pattern NEXT.

She used words like meditation, doing it, and
being in the moment to describe the process. 

above photo by eric lehnert

Saskia Lehnert talks about a metal and wood multi-plate
collaboration with Telephonebooth Editions in KC
and working with water-based inks for her woodblocks.
Metal plates used for RGB Landscape
Video is seven minutes long.
Click on

Closeup of etched metal plate used in collaboration.

above photo by eric lehnert

Ms. Lehnert covers rice paste with
water-based inks, the cutting tools used
for her "Storm" woodblock impression 
Video is three and a half minutes long.
Click on

Careful cuts to create line gradations ABOVE.
Wood block for "Ghost In The Forest"
Closeup of layered colors on impression BELOW
Double click on images.

above photo by eric lehnert

Lehnert completes her studio interview.
She explains what it means to charge the plate,
the importance of contrast with a dot pattern,
holes drilled with a hand pushed dremel,
 beginning with a mechanical design and
 transforming into something more with physical effort.
The process is satisfying beyond words.
You really spend time with every square inch
of the work. Video runs four minutes.
Click on

Lehnert is a member of the Nelson Atkins Print Society.
Her print studio is in Overland Park, Kansas.
Her website is

Wednesday, May 20, 2015

karl marxhausen - print share

Photographer Karl Marxhausen held up a favorite woodcut at the Creative Cafe and shared the difficulty of the cutting and inking process. Double click on images to enlarge details.


"It began with my love for "a wisp." The way the thin graphite strokes described faint sunlight coming through the cloud."

"The thinnest lines in a woodcut are the darkest black. The whole design becomes something more than a gray scale drawing. After all the days it takes to cut a design onto the block, the inking and the proofing, it takes me just as long to embrace what I see with my eyes. A woodcut cannot hold soft lines like the light touch of graphite can."

"The tiptop of the trees are so skinny on the block, they hold a little amount of printer's ink. The hand-burnishing from the back side of the paper needs to be both gentle and deliberate. If that area is missed, then the details I want will be absent."

Six minute video showed inking a woodcut block with a brayer. Aligning the proof sheet with the inked block. Methodical burnishing by hand. Pulling a proof. And removing the water-based ink with a paper towel. (courtesy of the artist)

"There is a lot of guessing and planning that one works at. In my "Limb Over Snow Houses" I filled the sky with dashes, inspired by the work of C.A. Seward. It wasn't in the original drawing. It worked out amazingly well. I especially enjoy the graphic boldness and poetry of the tree trunk."

Hi, Karl, I wanted to send you a note thanking you for sharing your 2 prints today at the "show & tell." I was glad you passed them around so we could get a closer look at them. They were really quite wonderful! Keep up the good the work!
Ruthie Osa

Karl Marxhausen is a member of the Nelson Atkins Print Society. He takes photos for the Spotlight KC Print blog when he can. Members are encouraged to send their photos to along with their observations and comments related to all our events. See more of the plein air drawings from which his woodcuts were based at
Drop him an email to get his monthly newsletter. He keeps an art blog, the Moss Creek Journal  Cheers.

Tuesday, May 19, 2015

print share - richard hamilton

At the Creative Cafe members shared stories about the print they brought with them from home. Double click on images to see details enlarged.

Six minutes.
"This one is interesting, from the standpoint of this presents I think one of the first use of plate toning," said Richard Hamilton during the Print Salon Share at the Nelson Atkins Museum of Art. "Which is where the artist wipes the plate.  Here he wiped the top but he did not wipe this bottom area to keep that dark and anchored. Of course this guy is with his mule, probably mule-horse, and I believe he is plowing somewhere on the outskirts of Paris."

 Drypoint by Jean Francoise Raffaelli.
It measured 4 5/8 by 6 inches.

One minute.
He made a total of 184 prints. Jean Francoise Raffaelli did not consider himself an impressionist. He considered himself to be a naturalist. And later a follower of Zola, who was an avant garde writer.

Richard Hamilton is a member of the Nelson Atkins Print Society.

print share - paula winchester

When 40 Nelson Atkins print society members got together to share a print that meant something to each of us,

STORIES opened up, and it got exciting in the Creative Cafe of the Nelson Atkins Museum of Art. 

Member Paula Winchester spoke about visiting her son in Portland and shared her wood engraving by Paul Gentry. Double click on images to enlarge.

Three minutes. 
Paula shared:
"This is a little bit that I know about this person. Paul Gentry. He lives in Portland, Oregon. My son also lives there and works at Nike World headquarters. So I tried to find him, but I was only traveling by mass transit and he was beyond where I could travel."

"But (Gentry) he calls himself a wood engraver. And he started in 2001, so he hasn't been doing this for very long. And wood engraving, this is for me to know as long as you don't know as well, is different from woodcuts, in that they are made on blocks of "end grain hardwood" rather than the face of a board. He also makes his own boards. So this harder surface allows one to cut a very fine design with engraving tools."

"He lives in the Willamette Valley, and he has become over time, basically he is a pictorial realistic division. And he loves the land, and that which he lives in. So his artwork is going to be things that appeal to me. And I like landscapes and things having to do with nature."

"To produce a print usually takes several weeks of work. He usually does not do much more than thirty-five prints. He fabricates these blocks themselves from pieces of eastern maple which are glued together and then carefully milled and sanded. And then the interesting thing is that when he does these prints he uses a "bamboo rice spoon" which he gets from the kitchen. The bamboo rice spoon is his burnishing tool to get it pressed into the print."


"That's about what I know. I know the American Legacy Gallery still has these things. And there was this rather nice one that I thought was really cool that had trees, cows, and horses. And (Gentry) he also did one that the American Legacy Gallery picked to be a part of the Print Crawl last year. One that he had that I thought was really cool, and that was not nature-oriented, but... if you have ever been to Portland, it has ridge after ridge after ridge after ridge, and it was like looking through ridges underneath the bridges and there was a person walking." 
John Mallery: That one was actually called "Shadows and Steel" and it is actually in the Nelson collection.
Marilyn Carbonell: The Nelson has three of them. Three Paul Gentries.
Steve Pruitt: And why, why do they have three Paul Gentries, Marilyn?
Marilyn Carbonell: Someone donated.

"Reflections At Ankeny" by Paul Gentry, wood engraving

Paula Winchester is a member of the Nelson Atkins Print Society. Her website is More on Winchester's experimenting with monoprints, click

Sunday, April 19, 2015

print share - john mallery

John Mallery is the President of the Nelson Atkins Print Society. He shares an etching impression which his parents, maybe even his great- grandparents, owned. 

The great thing about the print share salon at the Creative Cafe is the personality of each member as each shared their favorite print. Humor and respect go hand in hand with this group. Which is probably why the membership is growing as quickly as it is these days. Double click on images to enlarge.
Video is three minutes.

Albrecht Durer made a cameo appearance in the etched procession An 1870 version of Where's Waldo.
The full procession is next.

More on Austrian painter Hans Makart  

Another plus for this group is how much one learns from the people who attend the function you also attend. There is much expertise in the room. As in the next video.

Video is four minutes.
Stephen Pruitt tells viewers where the PLATE MARK is underneath the mat. Remarques were little etched images that showed special distinction to a given etched impression.
[Hans Makart courtesy of Art Sunlight,,
accessed April 20, 2015]