This blog is one of a six-part series highlighting the processes behind printmaking and the art shown in the exhibition that was on view May 26 – July 22, 2017 titled 528.0 Regional Juried Printmaking Exhibition. See our YouTube channel for more printmaking videos over the coming weeks.

Printmaking can be difficult to comprehend. The processes of relief, intaglio, lithography, and screen printing are often combined to create original contemporary prints. This is why we sat down with Ashley Nason, a printmaker and a juror for the 528.0 Regional Juried Printmaking Exhibition, to discuss the different processes and how printmakers utilize them to create original prints. Ashley was a visiting professor in printmaking at MSU Denver for two years. She received an MFA from University of Tennessee, Knoxville in 1999 and her work has been shown in more than 50 regional, national, and international exhibitions. Join us as Ashley shares her knowledge about the four processes of printmaking.

In 528.0, all four processes, plus the unique process of monotype, can be seen in the artwork. Often in contemporary printmaking relief, intaglio, lithography and screen printing are combined allowing interactions between layers. This allows inks of different colors, transparencies and textures to overlay and mix each time the printmaker puts the paper and matrix though the press. Below are some examples of original prints from our region that are included in the exhibition hosted by CVA.

Lithograph

Abstract print with dark ink blotches on a white background, framed on a wall.

Libby Garon, Fruitful Origins, lithography, 2012. Collection of Pamela Merrill.

Abstract black and white ink blot pattern print.

Detail of Fruitful Origins

Screen Print

A black-and-white depiction of an old building with multiple windows on a dark background.

Michael Jacobs, The Dive, screen print on steel, 2012.

Abstract artwork of a building facade in black, white, and blue tones with windows and utility pole.

Detail of The Dive

Relief Print

Art installation of fabric pieces resembling pheasants clipped to rows of string with clothespins.

Jonathan Nicklow, Bird Study 24, relief prints on fabric, 2017.

Close-up of fabric with a black and white bird feather pattern.

Detail of Bird Study 24

Intaglio

Two framed artworks on a wall, one with a dome and flowers, the other with geometric blue hexagons.

Jeff Russell, Prismatic Union, intaglio with chine collé, 2017

A collage of hexagonal shapes featuring architectural images against a blue patterned background.

Detail of Prismatic Union