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 atkins.org/education/AdultProg.cfm.
Her website is http://herbgathering.com/. You can see her pastel drawings here.

heavy stones - two kc litho workshops

Participant grinds down litho stone with another litho stone. To see video, click Post by Kansas City Print Society.

Welcome to Lawrence Lithography workshop. Walk in video, click Post by Kansas City Print Society.

  

Jacqueline Lichty spins circular steel tool with carbide powdered grit and water to grind off residual grease image. Sims said it usually takes one to two hours of grinding to completely remove a previous drawing on a limestone block.

"The thing that really struck me was how physical the printer's job can be! Mike Sims said, "There are no overweight Lithographers! Maybe hunchbacked with hernias - but none out of shape!"   Ruthie Osa 

"I became familiar with the technique of copper plate etching while selling prints to area art galleries in the 1980s. I always wanted to observe the art of lithography.  Mike's workshop at Lawrence Lithography provided an excellent survey of the technique, business, and history of lithography. I especially enjoyed his discussion about the chemistry of lithography."

Curtis V. Smith, Professor of Biological Sciences, Kansas City Kansas Community College

"We normally don't associate the term etching with lithograph. But it was the term selected for the step that chemically bonds or stabilizes the grease to the lithographic stone. As Mike said, it molecularly changes the composition of the stone."  Robin Gross

See five people making marks on prepared litho stone, two minute video, click Post by Kansas City Print Society.

 

Many specific steps take place, including twirling a leather flap to air dry the damp stone, using clean sponges to wet the stone, roll up black ink front ways and side ways, a blur of activity to be sure. Each one necessary to ensure the inked impression be a successful one.

"In the pulling of each print the relationship of water and ink and the building up of the ink helps one see how mastery of printing is developed over time."  Robin Gross

2nd close up of details on group impression.

"Only through hands-on experience can one come to this knowledge. Mike Sims shared a glimpse of the adeptness required for the lithographic process."    Robin Gross



Mike Sims helped our group understand the science of grease, and how one learns by experimenting and following charts for etching time.



"Got to learn more about Mr. Sims & how he first came into lithography- His first try at working with the stone came from the tail end of his education in Western Michigan- I see Mr. Sims as a master in his craft- (He would not admit to it http://www.wmich.edu/news/2013/02/1637 "   Eric Lehnert

More photos can be seen on Facebook page https://www.facebook.com/kansascityprintsociety/photos_stream#!/kansascityprintsociety/photos
Click on comments to see videos from workshop https://www.facebook.com/kansascityprintsociety/photos_stream#!/photo.php?v=490192084373352&set=vb.246977312092367&type=3&theater

My own notes from workshop follow--

The magic of lithography can happen when a limestone block is chemically altered to hold both grease and water.

Removing the previous grease image can take several hours of grueling grinding and wrist motion. Stone blocks are heavy.

Once the stone is prepared it can receive grease. Grease can be applied in various forms. Waxy pencils, fine tipped pens, bars of grease, and in a liquid form called tusche.

The liquid form can be brushed on in a wash. The trick is to lay it down and not rework it. Scumbling or mushing repeatedly with the brush makes its presentation unpredictable. Best to be direct. And then LEAVE IT ALONE!!!

Two open stones were ready for mark making. Participants played with chunks of grease, pencils of grease, and brushfuls of grease. The group of nine collaborated on each stone. Embellishing it with swoops, swiggles, and if you wrote letters it had to be written down BACKWARDS.     Karl Marxhausen