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prints drawing mixed media synesthetic works

Linoleum block print, oil-based ink, Kitakata paper, 12”x12”

Linocut is a printmaking technique, a variant of woodcut in which a sheet of linoleum (sometimes mounted on a wooden block) is used for the relief surface. A design is cut into the linoleum surface with a sharp knife, V-shaped chisel or gouge, with the raised (uncarved) areas representing a reversal (mirror image) of the parts to show printed. The linoleum sheet is inked with a roller (called a brayer), and then impressed onto paper or fabric. The actual printing can be done by hand or with a press.

Having always been concerned about the delicate balance between humanity and the environment, I have been increasingly interested in bringing an awareness of precious resources to the public. All over the world the plight of overfishing has been rearing its ugly head.

I have chosen several series of regional fish to illustrate this situation. This series of linoleum block prints (linocut) highlights selected species from the Northwest.

All prints in this series are 6”x8”
oil-based ink on Kitakata paper
Linoleum block print.


monoprint, 8" x 10"
monoprint, 12" x 12"
monoprint, 8" x 10"
Monoprinting is a form of printmaking that has images or lines that cannot exactly be reproduced. There are many techniques of monoprinting, including collage, hand-painted additions, and a form of tracing by which thick ink is laid down on a table, paper is placed on top and is then drawn on, transferring the ink onto the paper. Monoprints can also be made by altering the type, color, and pressure of the ink used to create different prints. Examples of standard printmaking techniques which can be used to make monoprints include lithography, woodcut, and etching.
My Brother’s Keeper, 18” x 14” monotype with Chine Colle Sedona Cliffs, 20” x 16”, monoprint
Monoprints are known as the most painterly method among the printmaking techniques. A monoprint is regarded as an editionable kind of print and is essentially a printed painting. The characteristic of this method is that no two prints are alike. The beauty of this medium is also in its spontaneity and its combination of printmaking, painting and drawing media.
Red Rock Crag, 6”x6”, monoprint

I also employ lithography in my studio, printing from a flat surface treated so as to repel the ink except where it is required for printing. The earliest forms of lithography used greasy ink to form an image on a piece of limestone that was then etched with acid and treated with gum arabic.

Tuscan Grove, 9”x12”, Lithograph

ETCHINGS are produced by engraving (metal, glass, or stone) by coating it with a protective layer, drawing on it with a needle, and then covering it with acid to attack the parts the needle has exposed.

A black and white image is laid on top of a steel plate which has been coated with a photo-sensitive emulsion and then it is exposed to UV light, causing the image to be etched onto the plate. Water is then used in solar plate etching, instead traditional acid, to etch the lines into the plate, making it ready for inking. A printer's ink is rubbed into the etched image, and then the plate is run through an etching press to transfer the image to paper.


Viscosity printing is a multi-color printmaking technique that incorporates principles of relief printing, intaglio printing, and monoprinting. It was pioneered by Stanley William Hayter in his Paris Atelier 17 in the late 1960s. The process uses the principle of viscosity to print multiple colors of ink from a single plate, rather than relying upon multiple plates for color separation. It is based on the knowledge that because stiff ink is not immediately soluble in a loose one, rolled ink layers can be created to repel one another. It is a fine art printmaking technique, as it is too slow and allows too much variation between proofs to make the printing of a large edition feasible.

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