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About Amanda

Carroll County
My woodblock prints feature landscapes and other organic subjects, reflecting an appreciation for both the grand beauty and intimate details of nature. My inspiration is based in memories of time spent outdoors as a child and the need to reconnect with nature as an adult. Working from nature offers endless complexity to explore, showcases themes that are important to me, and ultimately creates a unified connection between my subject matter and materials.
 
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Turkey Tail Mushrooms

Projects inspired by turkey tail mushrooms.
  • Turkey Tail Study and Folded Handmade Paper
    Turkey Tail Study and Folded Handmade Paper
    Graphite on vellum, handmade paper (cotton and abaca)
  • Turkey Tail Study
    Turkey Tail Study
    Graphite on vellum
  • Turkey Tail Study
    Turkey Tail Study
    Graphite on Tracing Paper
  • Turkey Tail Mushrooms Detail
    Turkey Tail Mushrooms Detail
    Handmade paper, woodblock prints, wood panels, and magnets, Installation varies by location.
  • Turkey Tail Mushrooms Detail
    Turkey Tail Mushrooms Detail
    Handmade paper, woodblock prints, wood panels, and magnets, Installation varies by location.
  • Turkey Tail Mushrooms
    Turkey Tail Mushrooms
    Handmade paper, woodblock prints, wood panels, and magnets, Installation varies by location.
  • Turkey Tails Detail
    Turkey Tails Detail
    Screen Print Monotypes, wood panel, book cloth, rice paste, magnets
  • Turkey Tails Detail
    Turkey Tails Detail
    Screen Print Monotypes, wood panel, book cloth, rice paste, magnets
  • Turkey Tails
    Turkey Tails
    Screen Print Monotypes, wood panel, book cloth, rice paste, magnets
    •

    • Woodblock Prints and Gelatin Monotypes

    The artwork is printed from woodblocks that I sketched, carved, and inked by hand, and printed on an etching press. I print with Akua Intaglio inks, which are soy-based, professional quality, and highly pigmented. My artwork features landscapes and other organic subjects, reflecting an appreciation for both the grand beauty and intimate details of nature. My inspiration is based in memories of time spent outdoors as a child and the need to reconnect with nature as an adult.

    The gelatin monotypes are created using a gelatin plate as a printing surface. Ink transfers beautifully from the smooth gelatin surface, with very little pressure, and so no etching press or baren is required. The material is very versatile, and while it can mimic traditional printing processes, it possesses its own unique qualities and the process lends itself to experimentation.
    • Plum Blossoms
      Plum Blossoms
      Title: Plum Blossoms Medium: Monotype printed from a gelatin plate Paper: Rives BFK Paper size: 10" x 13" Image size: 10" x 13"(bleed print) Block: a plate made of unflavored gelatin Ink: Akua Kolor Liquid Pigment Edition: one of a kind
    • Storybook Moon
      Storybook Moon
      Title: Storybook Moon Medium: Monotype printed from a gelatin plate Paper: Rives BFK Paper size: 12" x 16" Image size: 12" x 16" (bleed print) Block: a plate made of unflavored gelatin Ink: Akua Kolor Liquid Pigment Edition: one of a kind
    • Shadows
      Shadows
      Hand-cut stencil (or paper-cut), which was inked and used as a printing stencil for a gelatin monotype print.
    • Two Girls
      Two Girls
      Monotype printed from a gelatin plate. There is a direct print and a ghost print (printed from leftover ink on the plate). 4" x 10"
    • Seasons through the Eyes of a Child
      Seasons through the Eyes of a Child
      Title: Seasons Through the Eyes of a Child Medium: Woodblock Print Paper: Hosho Paper size: 7 x 10" Image size: 6 x 9" Block: Shina, one block Ink: Akua Intaglio
    • Pulling a print
      Pulling a print
      Freshly printed second color of Glistening, lifting the paper off the block.
    • Glistening
      Glistening
      Title: Glistening Medium: Woodblock Print Paper: Hosho (Japanese Washi) Paper size and image size: 9" x 12" Blocks: 1 block shina, 2 blocks plywood Ink: Akua Intaglio Edition size: 10
    • Early Spring
      Early Spring
      sketched, carved, and inked the block by hand, and printed with an etching press. Title: Early Spring Paper: Hosho (Japanese washi) Paper Size: 8 x 10" Image Size: 6" x 8" Blocks: Shina, 1 block Ink: Akua Intaglio Edition size: 10
    • Woodblock for Pregnancy Portrait
      Woodblock for Pregnancy Portrait
      Hand-carved woodblock for printing Pregnancy Portrait.
    • Pregnancy Portrait
      Pregnancy Portrait
      This portrait represents a quiet moment of appreciation, during a time of much excitement and anticipation. I sketched, carved, and inked the block by hand, and printed with an etching press. Woodblock printed on Rives BFK printmaking paper wth Akua Intaglio (soy-based)Ink. Chine Colle (a technique of pasting paper during the printing process) is used for the shirt pattern, which is from Japanese paper (chiyogami paper or washi). Title: Pregnancy Portrait Medium: Woodblock Print with Chine Colle Paper: Rives BFK Paper Size: 9 x 12" Image Size: 8" x 10" Block: Shina, 1 block Ink: Akua Intaglio Edition size: 50 This woodblock print was included in the exhibit and catalog for: Mind, Body, Spirit: Celebrating Women Artists, 2010.University of Maryland, University College. Adelphi, MD.
    •

    • Drawings

    Drawing has always been an important part of my process. My drawings could be in a sketchbook, on bits of tracing paper that will be used to transfer the image to a block, or even directly on the block, to be used as a guide for carving.
    • Evergreen trees in the fog
      Evergreen trees in the fog
      Watercolor ink drawing on Rives BFK, 2011, 8 1/2 x 11"
    • Pinecone on a branch
      Pinecone on a branch
      Pinecone on a branch. 2013. 4" x 6". Drawing on a woodblock with India ink pens, to be used as a guide for carving.
    • Butterfly studies
      Butterfly studies
      Sketchbook drawing of butterflies on display at the Irvine Nature Center (they died of natural causes and were preserved for display). Irvine Nature Center, Owings Mills, MD. 2013. Graphite on paper. 7" x 10". (sketch in preparation for a woodblock print)
    • Signs of Spring, sketchbook drawing
      Signs of Spring, sketchbook drawing
      Sketchbook drawing of small white flowers that poke up from between the brown, leafy ground cover--a sign that spring is coming. Irvine Nature Center, Owings Mills, MD. 2013. Graphite on paper. 7" x 10". (sketch in preparation for a woodblock print)
    • Poppies
      Poppies
      Sketchbook drawing of a garden of poppies in Carroll County, MD. 2013. Graphite on paper. 7" x 10". (sketch in preparation for a woodblock print)
    • Nature specimens on display at the Irvine Nature Center
      Nature specimens on display at the Irvine Nature Center
      Nature specimens at the Irvine Nature Center, Owings Mills, MD, Graphite, Sketchbook page, 2012. 4" x 6"
    • Trees, woods at the Irvine Nature Center
      Trees, woods at the Irvine Nature Center
      Trees, woods at the Irvine Nature Center, Owings Mills, MD, Graphite, Sketchbook page, 2012. 4" x 6"
    • Trees forming an arch, Sketchbook page
      Trees forming an arch, Sketchbook page
      Trees forming an arch, woods at the Irvine Nature Center, Owings Mills, MD, Graphite, Sketchbook page, 2012. 4" x 6"
    • Turkey Tails
      Turkey Tails
      Turkey tails. Graphite on tracing paper. 2012. 12" x 18"
    • Turkey tails detail.
      Turkey tails detail.
      Turkey tails. Graphite on tracing paper. 2012. 12" x 18"
    •

    • Papermaking

    Through workshops, papermaking society, and papermill rental at Pyramid Atlantic Art Center, I have been learning the process of Western papermaking. I have been exploring ways to incorporate it into my artwork, through pulp painting (applying pigmented pulp to the freshly formed sheet), or by using it as a surface for drawing or printing.
    • Trees
      Trees
      Watercolor ink drawing on Rag paper (from recycled denim). Approximately 8 1/2" x 11"
    • dsc03400.jpg
      dsc03400.jpg
    • Abaca
      Abaca
      Sheets of handmade paper made with abaca
    • Oval paper
      Oval paper
      Handmade paper with inclusions. It was created using an oval-shaped mould and deckle. Approximately 3" x 5"
    • Papermaking Process
      Papermaking Process
      This photo of the papermaking process shows the mould and deckle used to form the paper sheet. Below is the vat of water and pulp, which has been beaten in the Hollander beater to prepare for sheet forming. The mould and deckle are dipped in the vat, then pulled up and carefully shaken forward and back so the fibers will bind together.
    • Field
      Field
      Field, 2010, Pulp Painting and Woodblock Print on Handmade Paper (abaca), 8 1/2" x 11" (approximately) In pulp painting, the pigmented pulp is added to the freshly formed sheet before it is pressed and dried. Here, I squeeze the pulp paint directly from the bottle to create the lines of the landscape.
    • Nest, Nesting, Nestle, Nestled
      Nest, Nesting, Nestle, Nestled
      Nest, Nesting, Nestle, Nestled, 2010, Pulp Painting and Woodblock Print on Handmade Paper, 9" circle (approximately) In pulp painting, the pigmented pulp is added to the freshly formed sheet before it is pressed and dried. Here, I cut stencils for the eggs, applied the pulp paint around the stencils, and then removed the stencils. The text was added as a woodblock print after the paper was dry.
    • Nest
      Nest
      Nest, 2010, Pulp Painting and Woodblock Print on Handmade Paper, 9" circle (approximately) In pulp painting, the pigmented pulp is added to the freshly formed sheet before it is pressed and dried. Here, I cut stencils for the eggs, applied the pulp paint around the stencils, and then removed the stencils. The text was added as a woodblock print after the paper was dry.
    • Black Sheep
      Black Sheep
      Black Sheep, 2009, Pulp Painting on Handmade Rag Paper (from recycled denim and cotton sheets), 8 1/2" x 11" (approximately) In pulp painting, the pigmented pulp is added to the freshly formed sheet before it is pressed and dried. Here, I cut stencils for the sheep shapes, applied the pulp paint around the stencils, and then removed the stencils.
    • Tree Line 1
      Tree Line 1
      Tree Line 1, Pulp Painting on Handmade Rag Paper, 9" x 14" (approximately) In pulp painting, the pigmented pulp is added to the freshly formed sheet before it is pressed and dried. Here, I cut stencils for the tree shapes, applied the pulp paint around the stencils, and then removed the stencils.
    •

    • Small Woodblock Prints

    These are small woodblock prints, designed with an aesthetic of simplicity. The image area is 4" x 6", occassionally even smaller.

    The artwork is printed from woodblocks that I sketched, carved, and inked by hand, and printed on an etching press. I print with Akua Intaglio inks, which are soy-based, professional quality, and highly pigmented. My artwork features landscapes and other organic subjects, reflecting an appreciation for both the grand beauty and intimate details of nature. My inspiration is based in memories of time spent outdoors as a child and the need to reconnect with nature as an adult.
    • Sweet Gum Tree
      Sweet Gum Tree
      Title: Sweet Gum Tree (Brown and White) Paper: Magnani Pescia Paper Size: 6 x 8" Image Size: 4 x 6" Block: Shina--1 block Ink: Akua Intaglio Edition size: Open Edition (unnumbered)
    • Cat Tails
      Cat Tails
      This woodblock print shows green and black cat tails against a blue background. It is printed from three woodblocks that I sketched, carved, and inked by hand, and printed on an etching press. Title: Cat Tails Paper: Magnani Pescia Paper Size: 6 x 8" Image Size: 4 x 6" Block: Shina--3 blocks Ink: Akua Intaglio Edition size: Open Edition (unnumbered)
    • Japanese Maple
      Japanese Maple
      Title: Japanese Maple Paper: Magnani Pescia Paper Size: 6 x 8" Image Size: 4 x 6" Block: Shina--3 blocks Ink: Akua Intaglio Edition size: Open Edition (unnumbered)
    • Pine Branch
      Pine Branch
      Title: Pine Branch Paper: Mulberry Rice Paper Paper Size: 6 x 8" Image Size: 4 x 6" Block: Shina--2 blocks Ink: Akua Intaglio Edition size: Open Edition (unnumbered)
    • Robin's Nest
      Robin's Nest
      Title: Robin's Nest Paper: Mulberry Rice Paper Paper Size: 6 x 8" Image Size: 4 x 6" Block: Shina--3 blocks Ink: Akua Intaglio Edition size: Open Edition (unnumbered)
    • Books in Flight
      Books in Flight
      Title: Books in Flight Paper: Magnani Pescia Paper Size: 6 x 8" Image Size: 4 x 6" Block: Shina--2 blocks Ink: Akua Intaglio Edition size: Open Edition (unnumbered)
    • Monarch Butterfly
      Monarch Butterfly
      This artwork is a woodblock print of a black, orange, and white Monarch Butterfly. It is printed from two blocks that I carved by hand. Signed and numbered from an edition of 65. Title: Monarch Butterfly Paper: Magnani Pescia Paper Size: 6" x 8" Image Size: approximately 3" x 4" Block: Shina--2 blocks Ink: Akua Intaglio Edition size: 65
    • Tomatoes
      Tomatoes
      Two ripe, red tomatoes. Title: Tomatoes Paper: Magnani Pescia Paper Size: 6 x 8" Image Size: 4 x 6" Block: Shina--3 blocks Ink: Akua Intaglio Edition size: Open Edition (unnumbered)
    • Birds and Branches
      Birds and Branches
      Two birds, on tree branches, silhouetted against the pale blue sky. Title: Birds and Branches Paper: Magnani Pescia, Pale Blue Paper Size: 6 x 8" Image Size: 4 x 6" Block: Shina--1 block Ink: Akua Intaglio Edition size: Open Edition (unnumbered)
    • Winterberry Holly
      Winterberry Holly
      Title: Winterberry Holly (Red, Black and White) Paper: Magnani Pescia Paper Size: 6 x 8" Image Size: 4 x 6" Block: Shina--2 blocks Ink: Akua Intaglio Edition size: Open Edition (unnumbered)
    •

    • Milkweed Pods

    The artwork is printed from woodblocks that I sketched, carved, and inked by hand, and printed on an etching press. I print with Akua Intaglio inks, which are soy-based, professional quality, and highly pigmented. My artwork features landscapes and other organic subjects, reflecting an appreciation for both the grand beauty and intimate details of nature. My inspiration is based in memories of time spent outdoors as a child and the need to reconnect with nature as an adult.
    • gordon-miller-milkweed.jpg
      gordon-miller-milkweed.jpg
    • Woodblocks for Milkweed Pods (version 2)
      Woodblocks for Milkweed Pods (version 2)
      4 of the 5 hand-carved woodblocks that will be used to print on of the woodblock prints in the Milkweed Pods series. Each block is 12" x 16". Each block will be inked with a different color and printed on the paper using an etching press. (Work in progress)
    • Carved woodblock for another Milkweed Pod woodblock print
      Carved woodblock for another Milkweed Pod woodblock print
      Carved woodblock for another Milkweed Pod woodblock print (work in progress). This is the key block.
    • Milkweeds in the Meadow 3
      Milkweeds in the Meadow 3
      Color pencil on handmade paper. Approximately 5" x 7"
    • Milkweeds in the Meadow 2
      Milkweeds in the Meadow 2
      Color pencil on handmade paper. Approximately 5" x 7"
    • Milkweeds in the Meadow 1
      Milkweeds in the Meadow 1
      Color pencil on handmade paper. Approximately 5" x 7"
    • Working Proof for Milkweed Pods
      Working Proof for Milkweed Pods
      This is a working proof from one of the color blocks for Milkweed Pods.
    • Carved woodblock for milkweed pods.
      Carved woodblock for milkweed pods.
      One of four hand-carved woodblocks for Milkweed Pods.
    • Milkweek Pods
      Milkweek Pods
      This brown, yellow, and beige woodblock print features milkweed pods in a grassy meadow. The artwork is printed from 4 woodblocks that I sketched, carved, and inked by hand. I printed it with an etching press. Title: Milkweed Pods Paper: Magnani Pescia, 14" x 18" Image Size: 12" x 16" Block: Shina--4 blocks Ink: Akua Intaglio Edition size: 35
    •

    • Woodblock Prints

    The artwork is printed from woodblocks that I sketched, carved, and inked by hand, and printed on an etching press. I print with Akua Intaglio inks, which are soy-based, professional quality, and highly pigmented. My artwork features landscapes and other organic subjects, reflecting an appreciation for both the grand beauty and intimate details of nature. My inspiration is based in memories of time spent outdoors as a child and the need to reconnect with nature as an adult.
    • Woodblock for Sweet William Reduction Print
      Woodblock for Sweet William Reduction Print
      In the reduction printing process, a single woodblock is carved and printed in stages, in order to print different colors on the print. This is the woodblock after the last stage of printing Sweet William.
    • Sweet William
      Sweet William
      This landscape is based on a place that is near and dear to my heart in central Illinois. Title: Sweet William Paper: Magnani Pescia, 11 x 14" Image Size: 9 x 12" Block: Shina Ink: Akua Intaglio, a professional-quality, soy-based ink. Edition size: 17 Matted to: 14 x 18" The process is a 6-color reduction print (all colors printed from the same block; the wood was cut away to print each new color). This hand-pulled print is numbered from an edition of 17.
    • Pale Blue Block for Barn and Dahlia
      Pale Blue Block for Barn and Dahlia
      One of five blocks used to print Barn and Dahlia.
    • Key Block for Barn and Dahlia
      Key Block for Barn and Dahlia
      Key Block for Barn and Dahlia. This block was inked and printed in dark brown.
    • Barn and Dahlia
      Barn and Dahlia
      My great-aunt and great-uncle live on a farm in rural Pennsylvania with this wonderful, old barn. This woodblock print is based on a view from their beautiful garden, which has dahlias in late summer/early fall. This woodblock print was printed from 5 hand-carved blocks, one dark brown "key block" and four color blocks. Title: Barn and Dahlia Paper: Magnani Pescia, 10" x 12" Image Size: 8" x 10" Block: Shina--5 blocks Ink: Akua Intaglio, a professional-quality, soy-based ink. Edition size: 22
    • Pulling a print
      Pulling a print
      Lifting the freshly printed artwork off the block.
    • Ink drawing on the woodblock for Strength and Hope
      Ink drawing on the woodblock for Strength and Hope
    • Strength and Hope
      Strength and Hope
      This woodblock print is my contribution to Inspired by Japan: Woodblock Printers Collaborate to support relief efforts in Japan. Artists from the Baren Forum of Woodblock Printmakers came together to make a difference in the lives of the people of Japan who were affected by the earthquake and tsunami of 2011. Each artist contributed an edition of woodblock prints reflecting the theme "Inspired by Japan." The artwork was coordinated into portfolios, which were exhibited and sold, with proceeds going to MercyCorps in cooperation with Peace Winds in Japan to assist those in need. For my print, I chose the pine tree as a symbol of strength, and new growth (the young pine tree in the forground) as a symbol of hope. Title: Strength and Hope Paper Size: 10 x 15" Image Size: 8 x 13" Block: Shina - Printed from one block using the reduction method, in which the image is carved from a single block and printed in stages. Ink: Akua Intaglio Edition size: 33
    • Block for Young Love (Christmas 1932)
      Block for Young Love (Christmas 1932)
      This is one of two blocks used to print Young Love (Christmas 1932).
    • Young Love (Christmas 1932)
      Young Love (Christmas 1932)
      This winter scene is based on a tiny, black-and-white photograph of my great-grandparents from 1932. They used it as their Christmas card that year. They were young, in love, and enjoying the snow! The artwork is printed from two woodblocks that I sketched, carved, and inked by hand. It is signed and numbered from an edition of 50. Title: Christmas 1932 Paper: Magnani Pescia Paper Size: 11" x 14" Image Size: 9" x 11" Block: Shina--2 blocks Ink: Akua Intaglio Edition size: 50
    •

    • Woodblock Prints, for Women's Invitational Exhibition at Traillworks Gallery, in Newton, NJ

    This artwork was developed in response to Susan Goodell's play Hope Throws Her Heart Away, which was performed by the Tri-State Actors Theater at Traillworks Studio and Gallery in 2011. I was invited to create artwork in response to this script as part of the Women's Invitational Exhibition.

    In the play, Hope is played by three different actors, representing the character at three different points in her life. In response, I chose to depict a lotus because its different life stages (buds, blossoms, and seeds) are present at one time.

    During her youth, Hope feels isolated from her peers, and sometimes ostracized, and she longs to be part of the group. In response, I chose to depict sheep on a farm. One sheep is "on the outside," looking in at the other sheep. She longs to be part of the group, but does not realize that she is truly freer than the others.

    The artwork is printed from woodblocks that I sketched, carved, and inked by hand, and printed on an etching press. I print with Akua Intaglio inks, which are soy-based, professional quality, and highly pigmented. My artwork features landscapes and other organic subjects, reflecting an appreciation for both the grand beauty and intimate details of nature.
    • On the Outside (Sheep)
      On the Outside (Sheep)
      This brown, tan, green, orange, blue, and white woodblock print features sheep on a farm. One sheep is "On the Outside," looking in at the other sheep. The artwork is printed from 4 woodblocks that I sketched, carved, and inked by hand, and printed on an etching press. Title: On the Outside (sheep) Paper: Magnani Pescia, 14" x 18" Image Size: 12" x 16" Block: Shina--4 blocks Ink: Akua Intaglio Edition size: 50
    • Dark brown "Key Block" for On the Outside (Sheep)
      Dark brown "Key Block" for On the Outside (Sheep)
      This is the "key block," one of four hand-carved blocks used to print On the Outside (Sheep).
    • Blue block
      Blue block
      One of four hand-carved blocks used to print On the Outside (Sheep).
    • Background block
      Background block
      One of four hand-carved blocks used to print On the Outside (Sheep).
    • Yellow Ochre Block
      Yellow Ochre Block
      One of four hand-carved blocks used to print On the Outside (Sheep).
    • 4 color blocks for Lotus, Three Stages
      4 color blocks for Lotus, Three Stages
      Here, I have set up some color blocks in my studio, for purposes of an Open Studio, in order to illustrate the steps in the printing process.
    • Proof of Black "Key Block"
      Proof of Black "Key Block"
      This is a working proof of the key block. I then transferred the print to the three color blocks so I could carve and plan the colors.
    • Black "Key Block" for Lotus, Three Stages
      Black "Key Block" for Lotus, Three Stages
      This is one of four hand-carved blocks used to carve Lotus, Three Stages.
    • Lotus, Three Stages
      Lotus, Three Stages
      This black, green, and magenta woodblock print features the lotus flower in three stages--flower, buds, and seeds--as well as beautiful green leaves. The artwork is printed from 4 woodblocks that I sketched, carved, and inked by hand, and printed on an etching press. Title: Lotus, Three Stages Paper: Magnani Pescia, 14" x 18" Image Size: 12" x 16" Block: Shina--4 blocks Ink: Akua Intaglio Edition size: 50
    •

    • Woodblock Prints

    The artwork is printed from woodblocks that I sketched, carved, and inked by hand, and printed on an etching press. I print with Akua Intaglio inks, which are soy-based, professional quality, and highly pigmented. My artwork features landscapes and other organic subjects, reflecting an appreciation for both the grand beauty and intimate details of nature. My inspiration is based in memories of time spent outdoors as a child and the need to reconnect with nature as an adult.
    • Carved woodblocks for printing Alpacas
      Carved woodblocks for printing Alpacas
      4 of the 5 hand-carved woodblocks that I used to print Alpacas. Each block is inked with a different color and then printed on the paper using an etching press.
    • Alpacas
      Alpacas
      Title: Alpacas Paper: Rives BFK Paper Size: 10 1/2 x 13" Image Size: 8 1/2 x 11" Block: Shina--5 blocks Ink: Akua Intaglio Edition size: 35
    • First Stage, Woodblock for Niagara River
      First Stage, Woodblock for Niagara River
      This is the first stage of the reduction print Niagara River. The sketch on the block is still visible. Areas that are to remain white (unprinted areas of the paper) have been carved away. The raise areas of the block were inked and printed with transparent yellow ochre. Much of that color was covered by the other stages of printing, but the yellow ochre is still visible on the bridge in the final print.
    • Niagara River
      Niagara River
      A view of bridges and flowing water, seen through silhouetted trees. This landscape is based on the Niagara River, in Niagara Falls, NY. The artwork is printed from one Shina woodblock. It was printed using the reduction method, in which a single block is carved and printed in stages. Title: Niagara River Medium: Woodblock Print (Reduction Method) Paper: Rives BFK, White Paper Size: 10 x 14" Image Size: 8 x 12" Block: Shina Ink: Akua Intaglio Edition size: 13
    • Carved Woodblock for Dusk, View from the Highway
      Carved Woodblock for Dusk, View from the Highway
      This is one of two blocks of cherry plywood used to print Dusk, View from the Highway.
    • Dusk, View From the Highway
      Dusk, View From the Highway
      Trees and brush silhouetted against a dusk sky. The artwork is printed from 2 woodblocks that I sketched, carved, and inked by hand, then printed with an etching press. Title: Dusk, View from the Highway Paper: Magnani Pescia, Cream Paper Size: 11 x 14" Image Size: 9 x 12" Block: Cherry, 2 blocks Ink: Akua Intaglio Edition size: 45
    • gordon-miller-winterlight.jpg
      gordon-miller-winterlight.jpg
    • Purple block for Fairy Woods in Winter
      Purple block for Fairy Woods in Winter
      This is one of five hand-carved woodblocks used to carve Fairy Woods in Winter.
    • Black block for Fairy Woods in Winter
      Black block for Fairy Woods in Winter
      This is one of five hand-carved blocks used to print Fairy Woods in Winter.
    • Fairy Woods in Winter
      Fairy Woods in Winter
      Sunlight sparkling through the snowy landscape. The trees are silhouetted, casting long, dark violet shadows. The artwork is printed from 5 woodblocks that I sketched, carved, and inked by hand, and printed on an etching press. Title: Fairy Woods in Winter Paper: Rives BFK White Paper Size: 12" x 16" Image Size: 10" x 14" Block: Shina--5 blocks Ink: Akua Intaglio Edition size: 45
    •

    • Printmaking Various techniques (etching, drypoint, lithography, collograph, and monotype)

    • Untitled collograph
      Untitled collograph
      Title: Untitled collograph Medium: hand-colored collograph Technique: The plate was created using a piece of dense cardboard. It was coated with acrylic medium and drawn into while the medium was still wet. Once dry, it was inked in the intaglio method (the ink is applied, and then wiped away, so the ink stays in the grooves) and printed on a small press. The print was hand-colored with watercolor. Image Size: 9" x 12"
    • Traveler/Man with an Orange Rectangle
      Traveler/Man with an Orange Rectangle
      Title: Traveler/Man with an Orange Rectangle Medium: monotype Technique: Paint and Caran d'Ache watercolor crayons were painted and drawn onto a smooth, metal plate. The plate was printed on dampened paper on an etching press, and the paint was transferred to the paper to create one unique print. Image Size: 15" x 22"
    • Still
      Still
      Title: Still Medium: Lithograph Technique: Drawn with a litho crayon directly on the stone, with some scratching into the drawing, then etched, washed, and printed on a lithography press. Image Size: 15" x 22"
    • Self Portrait, lithograph
      Self Portrait, lithograph
      Title: Self Portrait, lithograph Medium: Lithograph Technique: Drawn with a litho crayon, directly on the stone, then etched, washed, and printed on a lithography press. Image Size: 15" x 22"
    • Preschool Graduation, Memory
      Preschool Graduation, Memory
      Title: Preschool Graduation, Memory Medium: Hand-colored lithograph Technique: The lithograph was created using both xerox transfer and hand-drawing on the stone. The stone was then etched, washed, inked, and printed on a lithography press. I hand-painted the lithograph with gouache and folded the page as part of an artist's book. Image Size: 6" x 11"
    • #4 from Points of Contact (a portfolio of 9 etchings)
      #4 from Points of Contact (a portfolio of 9 etchings)
      Title: #4 from Points of Contact (a portfolio of 9 etchings) Medium: Etching Technique: This print was created using soft ground on a zinc plate. Lines were drawn into the ground with an etching needle, and textures such as cheese cloth and silk stockings were pressed into the ground to create texture and tonal values. The plate was etched in acid, inked and wiped, and printed on an etching press. Image Size: 8" x 10" Paper Size: 15" x 11" Edition size: 7
    • #3 from Points of Contact (a portfolio of 9 etchings)
      #3 from Points of Contact (a portfolio of 9 etchings)
      Title: #3 from Points of Contact (a portfolio of 9 etchings) Medium: Etching Technique: This print was created using soft ground on a zinc plate. Lines were drawn into the ground with an etching needle, and textures such as cheese cloth and silk stockings were pressed into the ground to create texture and tonal values. The plate was etched in acid, inked and wiped, and printed on an etching press. Image Size: 8" x 9" Paper Size: 15" x 11" Edition size: 7
    • Points of Contact #1
      Points of Contact #1
      Title: #1 from Points of Contact (a portfolio of 9 etchings) Medium: Etching Technique: This print was created using soft ground on a zinc plate. Lines were drawn into the ground with an etching needle, and textures such as cheese cloth and silk stockings were pressed into the ground to create texture and tonal values. The plate was etched in acid, inked and wiped, and printed on an etching press. Image Size: 6" x 6" Paper Size: 15" x 11" Edition size: 7
    • Self Portrait drypoint
      Self Portrait drypoint
      Title: At the End of the Lane Medium: Drypoint Technique: Many delicate lines were scratched into a copper plate with an etching needle. The scratching creates a delicate line, with a soft burr of metal on either side of it, which collects the ink for printing. Tonal values were built up through cross-hatching. The plate was inked and wiped by hand, and printed with an etching press. Image Size: 4 1/4" x 6" Paper Size: 9" x 10" Edition size: 7
    • At the End of the Lane
      At the End of the Lane
      Title: At the End of the Lane Medium: Etching Technique: This print was created using hard ground on a zinc plate. Lines were drawn into the ground with an etching needle and the plate was etched in acid. The image develops in stages, with the darker lines being etched longer to create deeper grooves. Printed on an etching press. Image Size: 5" x 6" Paper Size: 10" x 11" Edition size: 23
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