Sunday, May 26, 2013

kcai student blocks and print - may

8 by 6 inch linoleum blocks on display in print class room--coated with talc powder to prevent ink from being smeared double click on images to enlarge
"I Walked a Long Way to Get to a Place You Have Already Left"
Edition: 1 of 1   by Katie Twiss (above)

close up of etched litho stone (above) five stones (below)
graphic zines -- xeroxed booklets (above) zine reading (below)

Six minute walk through student print exhibit.
"Fire Pit Funeral" (above) "Joker Card" (below)
by Jacoby Warlick

While in Kansas City I stopped by to see
the End of the Year exhibit
at the Kansas City Art Institute.

Saturday, May 25, 2013

walk up and connect - kc expo


     I met the young man at the La Cucaracha booth who will be teaching the monotype class at the KCAI in June. Because I met him, I probably will take the class.     paula winchester
    There was the envelope I bought for my wife that had tiny sculpted faces made of paper with seeds inside that you could plant. My wife loves sculpture. She will have surprised looks in her elementary art classes that she teaches her in Carrollton.     karl marxhausen 
I enjoyed talking with the guy behind the print society table who has a "have printing press will travel" business. He goes around the country printing on site for various events.    paul sokoloff 
 "A rising tide raises all ships."     Mark Stevenson
 Since I sat at the front table I know that there had been 116 people to enter the doors. I asked those, while I was sitting there, how they had heard about the event. Most had a friend in the event. 3 young adults were from Emporia State. They were studying to be engravers. I asked what they were going to do with that training when they graduated. I liked that the event had some things for sell from $1 to $1400 (Laura Berman had prints for 300$ to 1400$).     paula winchester

Nelson - Atkins Print Society - Print collectors Panel Discussion April 20, 2013  
mark stevenson on the importance of archival materials
   There was a fellow who was into book binding. Who sought out Reader Digest books and refashioned new book covers from them. Our chit chat segued into another fellow from Kansas City's history who got caught up with that hands on process, the book arts, Alfred Fowler. I enjoyed Chuck Harper's insights.    karl marxhausen
Five minute walk through EXPO.
Hi Karl, I saw this; thank you very much.
Great to see you this weekend.
justin rogers
     I left my card with the group Two Tone Press for I would love to take a class at their place near Costco. I purchased one of their postcards with a Horny Toad on front and mailed it to my son in Portland. I also became aware that I really don't know who the people are in the Print Society.    paula winchester 

I will have a solo exhibition at Leedy-Voulkos Art Center next spring. The show opens First Friday, May 2 and runs through June 28, 2014. Exhibition opportunities formed for me directly from my participation in the KC Fine Print and Paper Expo. This is when I was able to connect with the curators at Leedy-Voulkos Art Center. That was such a great event!     laura berman

Fine Prints & Paper KC Expo 2013

Dates and Times:   April 19, 2013 - 4 pm to 8 pm, April 20, 2013 - 10 am to 4 pm - Leedy-Voulkos Arts Center 2012 Baltimore Avenue, Kansas City, Missouri 64108
Attractions:   Over 20 fine print and paper artists and art organizations from Kansas City.- Special Events:  Friday, April 19th, 5:00pm Paper Making Demonstration with Kelsey Elise Pike - 5:00pm Intaglio Printmaking Demonstration with Art McSweeney - 7:00pm The Archeology of the Sheet: Looking at Fine Paper, lecture by Mark Stevenson including antique and vintage papers

Saturday, April 20th, 11:00am - Relief Printmaking Demonstration with the Print Factory - 1:00pm - Calligraphy Demonstration with Calvert Guthrie - 1:30pm - Care of Art on Paper, a lecture by Mark Stevenson - 2:00pm - Print Collectors Panel Discussion, presented by the Print Society of the Nelson-Atkins Museum of Art

 The KC Expo concluded Saturday after one night
and one full day of interactions.

Friday, May 24, 2013

print collectors panel discussion - nelson atkins print society

   On Saturday, April 20th, a Print Collectors Panel Discussion convened in the lower level of the Leedy Voulkos Art Center, 2012 Baltimore Avenue, in the Crossroad District of Kansas City. It was one of six events held during the 1st annual Fine Prints & Paper KC Expo of 2013. The panel discussion event was presented by the Print Society of the Nelson-Atkins Museum of Art.
     Moderator Robin Gross (on the far right) asked for experiences from the following panel members: (left to right) Mike Lyon, Steve Pruitt, Jane Voorhees, Paul Sokoloff, and John Mallery. The cameraman was Eric Lehnert.....Enjoy.
Part 1 Thirty minutes. The gateway drug for us into prints.(Paul Sokoloff)   What do you need to know about prints? How do you educate yourself? (Robin Gross)
Books. Everyone starts from ground zero. (Steve Pruitt)    Take a print course, an art history course at Nelson or KCAI. (Jane Voorhees)    After you buy the second print you become a collector. (Mike Lyon)    An artist told me, when you first get into art, you realize that subject matter is not important. And that made my head spin around multiple times. (John Mallery)    The state of a print. (Paul Sokoloff, Jane Voorhees, Steve Pruitt, Mike Lyon)    Order of print. (Steve Pruitt)   When you buy something of 200 or 500 edition, are you buying fine art or a poster? (Paul Sokoloff)    Changes to etching plate changes its state. (Steve Pruitt) At Nelson library there is a 3-4 page resource bibliography to help you with printmaking, print collecting. I would encourage you to try that...Do you buy art because you love it, because it moves you, because it enhances your life, or are you thinking about the significance of the artist, investment quality, the technical sophistication of the work, or a whole list of different reasons? (Robin Gross)    The search for information, the history reading about the artists, where they came from. (John Mallery)

Part 2 Six minutes. Gems learned. (Robin Gross) It is not WHAT you know when you begin collecting. It is WHO you know. Nobody learns about art until you buy it, then once you buy it you learn. The best does the best. Name drives everything in the art world. (Steve Pruitt)

Part 3 Ten minutes. A gem of wisdom you wished you would have possessed in your early collecting career. (Robin Gross) Follow your heart. (Mike Lyon)  Collecting prints from the MET. (Jane Voorhees)  Do not be intimidated by collecting. (John Mallery) 

Part 4 One minute. John Mallery.

Part 5 Four minutes.  The value collectors put on their purchases. What does the print you buy do to you? (Robin Gross) Paul Sokoloff, Mike Lyon.

Part 6 Three minutes. Describe a print from your collection that speaks to you. (Robin Gross) Steve Pruitt, Mike Lyon
Fine Prints & Paper KC Expo 2013

Dates and Times:   April 19, 2013, 4 pm to 8 pm -- April 20, 2013, 10 am to 4 pm
Location:     Leedy-Voulkos Arts Center, 2012 Baltimore Avenue, Kansas City, Missouri 64108
Attractions:  Over 20 fine print and paper artists and art organizations from Kansas City.

Special Events:  Friday, April 19th - 5:00pm - Paper Making Demonstration with Kelsey Elise Pike - 5:00pm - Intaglio Printmaking Demonstration with Art McSweeney - 7:00pm - The Archeology of the Sheet: Looking at Fine Paper, lecture by Mark Stevenson including antique and vintage papers

Saturday, April 20th - 11:00am - Relief Printmaking Demonstration with the Print Factory - 1:00pm - Calligraphy Demonstration with Calvert Guthrie - 1:30pm - Care of Art on Paper, a lecture by Mark Stevenson - 2:00pm - Print Collectors Panel Discussion, presented by the Print Society of the Nelson-Atkins Museum of Art

Thursday, May 23, 2013

catherine vesce - kc printmaker

Multi-drop woodcut monotypes
  • These are my first woodblocks since college.
  • I don't have interest in doing editioning. 
    I really enjoy BEING ABLE TO GO          ANYWHERE with one piece. The down side of that is I can SPEND DAYS on ONE PRINT and that is ok.
    ++++++  FIVE  KEYS    ++++++
1.woodcut matrix - forest theme 
"Abstract imagery based in forest landscape
expressing a visual poetry that resides in earliest memories." CV 

"I think of the woodcut as a matrix, not a set image but rather a bit of vocabulary that can be adapted to the image as it is created. I draw loosely onto a 1/2 inch birch plywood panel with a brush or other invented tool. Then the wood is sealed with poly-acrylic. Cutting is done with gouges in a reciprocating Proxxon cutter (next photo) and with carbide tip tools in a rotary motorized tool." CV

Proxxon cutter (above) pink strop block to sharpen gouges and Herb's Yellowstone stropping compound (below). 

Here is how Vesce does woodcuts while standing upright (next).

CV: I put it up this way because I have a degenerative neck thing going on where I can not lean over and work like this at all. So, I just have my easel and I strap it with my bungee cord. Perfectly stable. Two minute video. Close up of bungee cord securing woodblock next. photo.
2. inks dry fast
"As soon as you print it, it is on the paper, it just is absorbed into the paper immediately, and I can go right back and print another color over it. I think it is an amazing product." CV 

    "I use Akua inks and modifiers. Susan Rostow & William Jung developed Akua Kolor and intaglio inks. They are lightfast, non-toxic, water based, soy based, and I can leave them on my glass palette for days without any skimming or change of consistency." CV bed

"I found this etching press online seven years ago. It was shipped to me from Vancouver Island, British Columbia. The press bed measures 30 by 48 inches." CV

Multi-drop monotypes are created by repeatedly rolling ink on and subtracting ink from a plastic plate, printing on Rives BFK or Mulberry paper. This process is combined with several woodcut matrixes that can be repeatedly printed over or under the monotypes, sometimes by hand. There may be repositioning of the paper over the block to include inking of different parts. Opaque shapes are sometimes added by inking and printing off other relief surfaces (see next photo).

(Above) First, black impression comes from a segment of woodcut matrix.

Shaped plastic plates are repositioned on top of impression on the light table. Translucent gray, blue, red, yellow, and green impressions complete the full image.
4. light table 

    "I don't print editions so there is no proofing or other pre-printing calculation. The image evolves in the very open but deliberate process of printing, more like a painting rather than a traditional print. However, there is little room for revision as there is in a painting i.e,. color mixing of mostly transparent ink must be extremely accurate.     The print paper with the first inked layer is placed face down on my large light table so that the plastic plate with second color can be registered and ink removed from the plate." CV

     Catherine explains the multi-drop monotype technique used in Deep Woods I. Part of the paper has inked impressions from a carved wooden block. Part of the design has ink impressions from blank plastic plates. Panels are hung next to each other on the wall. They are looked at and thought about until she embraces it. Then she connects the panels with strips of mulberry paper coated with PVA (polyvinyl acetate adhesive). Several impressions make up this one piece.   Three minute video.

5. tape together There are no proof sheets. For the large prints, I either print on one long sheet that goes through press on one end then the other or I fit together parts of several completed prints. They are connected with strips of mulberry paper coated with PVA.(polyvinylacetate adhesive (PVA) They are either attached to acid-free foam board with mulberry paper hinges wrapped around a long museum board strip or left floating on the wall.

Deepwoods III, woodcuts and monoprint, 37.5 x 52 inches

       "I have had a studio space at the Hobbs Building since 2004. Previously, I  taught art in high schools for 30 years. In the summers, I could focus on my own art. I served as Department Chair at Pembroke Hill Upper School, also at Barstow and at Hickman Mills High School in the 80's, while serving as District Art Coordinator for CSD #1." CV

Vesce has worked with Mike Sims using three aluminium lithography plates for her Songbird Series. She took a workshop with Heinrich Toh on litho transfers, when he was still downtown at the Incubator. And now she is going at her own pace, away from editions. 
Vesce is member of the Nelson Atkins Print Society.
Her art studio in the Hobbs Building in the West Bottoms of Kansas City.
Her website is
She was one of 20 vendors at the Fine Print and Paper Kansas City Expo, April 19 and 20, 2013. The exhibit was in the Leedy-Voulkos Art Center in the Crossroads District.

This interview took place Saturday afternoon March 16th, 2013.

(Proxxon link courtesy of  MH Crafters,, Akua inks,,  Heinrich Toh website,, Catherine Vesce website,, yellow polishing compound,, Hobbs Building link,, Mike Sims, Bing Images,,  
 accessed May 25, 2013)