press play print

For years now, traditional printmakers have been trying to come to terms with the digital revolution and how to place digitally-generated images from the more commercial sector within the framework of fine-art printmaking.

This posting will not delve into these same overcooked debates; this entry has more to do with my observations as a teacher of BOTH traditional and digital printmaking techniques.

The images shown are of “states” of a cd cover image I created as an example for my digital imaging class, where music, imagery, fonts, and text all had to be cohesive.  “Walk a mile” refers to both the saying (walk a mile in someone else’s shoes) but is also self-referential.  Many of the songs included on the cd are singer-songwriter, blues, and country tunes about walking, running, or traveling.  The waves in the background are formed from many “slippahs” (flip-flops for you Mainland folk), characteristic footwear of Hawaii, while the character is a caricature of me in my teaching regalia.

In both digital and traditional printmaking, there is an inherent experimenting, planning, and layering that takes place.  Unlike media such as painting, individual layers can usually be removed or altered for future variations or editions. Layering is extremely useful in both traditional and digital media for isolating, editing, or deleting single elements of a print, WITHOUT affecting the rest of the image. Layering is inherent to image creation in Adobe creative software; as with traditional printmaking those layers at the top (of the layers pallet) appear over the layers below them. I liken digital layering to having images on transparencies that are piled one over the next; most layers involve just one element floating in space, allowing windows to view layers below.  Layer opacity in both media may also be altered to allow a range of possibilities for viewing the layers below.

Through my experience teaching high school students a variety of art media, I have discovered that this understanding of layering in art helps students transition across the digital – traditional printmaking barriers.  Students that have already learned traditional printmaking have been much more adept at learning digital media because of their former understanding of layering, and vice versa.

Enrique Chagoya‘s new book

Illegal Alien’s Guide to Political Economy

Printed by Robert Blackburn Printmaking Workshop  at Anchor Graphics during the 2009 Southern Graphics Council Conference.

Above: Inside cover, page 5 (notice the skulls to note the page number), and back cover.

Pictured above: Left; Phil Sanders and Robert Mueller; Right; Tina Maidhof and Chris Dunnett.

This was an ambitious project starting an artist book and completing it over the course of a week.  The collaboration between Phil and Enrique began in New York City at the Robert Blackburn Printmaking Workshop. Drawings were made, scanned, printed onto film, brought to Anchor Graphics studio in Chicago where more drawings were completed.  Plates were exposed, printed, books were assembled, sewn and signed all with a non stop audience of at least 50 or more people surrounding the presses.

The last book was signed about 20 minutes before the studios closed on Saturday afternoon. This whirlwind of a project produced a very unique and beautifully drawn and printed edition.  A true collaboration of artist, printer, as well as printmaking studios.

The edition size of this book is only 75 and are at a very reasonable price.  To purchase or for more information and images please contact RBPMW at 646-416-6226 or email phil@efa1.org.

Fall 2007 Exams Doodle.  Mostly just filling space with line and pattern – I always tend to create images with faces in them.

At the end of each semester, teachers at my private school are all required to proctor 5 of 6  90-minute final exams.  During this time, we are not to do anything productive, but to watch with eyes peeled for the prolific cheater.  Basically, we’re to stare at a classroom full of girls in uniform for an hour-and-a-half; Blink. Blink.

Spring 2008 Exams Doodle.  This was a contour study of the girls’ hair, the stripes on their uniforms, and audio-visual cords hanging in the room.

During these times, I have done everything from take surveys of students’ accessories and behaviors (11 have their hair up, 2 are wearing jackets, 6 are wearing converse, 3 have hoop earrings in, 2 are tapping their feet nervously, etc.) to writing silly songs for friends (“Cassandra of the Red Hair Clan” was written to the tune of Pearl Jam’s “Betterman” – Yes I did actually create this for her in GarageBand, and no you will probably never hear it.) to occasionally doodling and trying to remember to glance around often.

My printmaking has always been related to my drawing skills – and never more than with my current screen print work.  When I was younger, I strove for realistic representation; now, I value creative ventures that utilize the imagination more as source material (This has been a difficult self-imposed aesthetic for someone who was very comfortable and used to being praised for depicting the world around her as it appeared.)  These doodles are the results of my time spent proctoring exams, from oldest (last year) to just about a week ago.

Fall 2008 Exams Doodle.  I’m feeling a need for silliness and simplicity – a retreat into my youth.  I have constantly struggled to get rid of the extra information that deters from the message of my work…Then again, not a very heavy message to this imagery. :)

If nothing else, the evolution of my exam doodles prompts interesting self-reflection.  And this ordered time forces me to put aside my endless list of to-dos in favor of pure mindless drawing and playful prose – imposed creative time.

The private school I teach at has a somewhat strange schedule; we do not finish with semester one exams until after returning from winter break – a strategy the administration claims was enacted to lower the students’ stress going into the holidays, but that I’ve been told does not result in this desired outcome (over break, many students promptly forget everything they learned the semester before).  As such, we just started our second semester this week, and, being an art teacher, all of my classes change over.  For several semesters now, I’ve made a habit of making my students something special with my own art as a sort of thank-you and class memento.  I remember teachers that gave me thoughtful gifts as a child, and while I probably did not truly appreciate all the effort that went into these gifts, the teacher and the act of gift-giving itself did make quite an impact on me.

The private girls’ Catholic School I teach at in Honolulu that is currently celebrating its centenial year.  As far as I know, the school uniforms have remained fairly consistent throughout the school’s history.  Students wear uniforms similar to those made popular by the anime cartoon character Sailor Moon.  Because uniform codes are fairly rigid, accessories like earings and necklaces gain importance in showing individuality and character.  Students are also allowed to wear official awards pins handed out by the school on their ties; however, I have been creating hand-printed & laminated  pins, specific for each class that I hand out to all my students at the end of the semester – And no one seems to bother the students about wearing these.  I hand them out our last regular day of class, and most students put them on immediately and may be found donning them throughout the following semester.

These current screen prints were all simple face images.  I printed 17 different ones in several color combinations (each class received a different color combo).  While the 10 hours it took me to complete these pins make me question whether the time commitment is really worthwhile at the time – wouldn’t the students be just as happy with store-bought baked goods?

My hope is that at least for some students, this type of gift is priceless.  Also, being so new to teaching, and having been involved heavily in the board of the Honolulu Printmakers and wedding planning until recently, I’ve had little time for my own work.  So engaging in the creative process to any degree is truly invigorating.

Favor cd given at my wedding (that is NOT my hand)

Hello everyone, I’m back!  Robert Molyneux and I got married December 27, and I’m still wading through wedding to-dos, mostly thank-yous and album printing for loved ones.  A little background: Rob and I live in a studio apartment above someone’s garage; we have little space for ourselves, let alone a bunch of stuff.  But at weddings, many people insist on giving a box with something that takes up space in it.  And to my pleasant surprise, many of my artist friends gave what they have in abundance…their art!  And, although I lack space, I’m thrilled to have received the work I have and have been told pieces from a few other artists are also on the way!  Minus the kooky, large, 60s era red hanging light an artist friend  picked up for us from Goodwill, these are the artworks we have received from artist friends:

Jared Wickware. Dance on Terror. Burin Engraving on Copper (framed). This was the print that first made me really take notice of Jared back in maybe 2003; the image is about 3″ x 5″!  (Jared and his wife Connie also gifted us a wonderful card with one of his images on it and a set of wine tumblers – my favorite!)

Deiter Runge. Woodcut print (framed) Deiter just received his MFA from the University of Hawaii at Manoa, but he’s been rocking for some time now.  He was part of the 1970s New York multiethnic punk rock band New York Niggers.  His imagery is based on some of his band’s original posters and photographs from that time.  Deiter lives on the Windward side of Oahu, where he teaches tai chi and kite surfing.  Rob helped teach Deiter relief and screenprinting.

Barbara Okamoto. Monoprint Card. Bobbie (as her friends know her) gifted us this beautiful handmade card, and also said she’s preparing a framed print as well.  She holds an MFA in fiber arts, and many of her prints have strong elements of rock and rope textures, as well as negative space design.  I’m very excited to see the print she chooses!

Laura Smith. Woodcut Print Card.  Laura is Executive Director of the Honolulu Printmakers and is locally well known for her signature style of woodcut print.  She and her husband Frank own a bike shop and also gifted us some accessories for my bicycle.

Gina Kerr. Watercolor Card.  Gina is a local painter, printmaker, and performance artist.  She and Bobbie Okamoto may often be found laughing together at various venues around Oahu.

Irish Ritchey.  Set of 7 handcarved koa ornaments.  Irish is a family friend of the Molyneuxs and a practiced wood worker.  His wife Joy, who teaches art to juvenile delinquents, has been a huge inspiration and rock of support as I continue to evolve in my teaching career.

Ray Dominick. Wedding Photos on disc and photoprint on canvas.  Ray and his wife Rhonda were my managers at my first waitressing job outside Glacier Park in Essex, MT.  Ray is a brilliant, multitalented businessman who also used to own a gallery and practice as a professional photographer!  Although he was not our “official” photographer, his photos are amazing!

Anna Manuel & Toby Morris.  Clark Little Photograph.  Anna Manuel is a local graphic designer & tandem surfer.  She and Rob went to college at VCU together for their undergraduate degrees, and lost touch.  We met up again several years ago through mutual friends; what a wonderful chance encounter!

Jeff Hepfer & Denise Acain.  Jeff is an amazing ceramicist Rob met through his atelier studies at Windward Community College after he first moved back to Oahu in 2001. He specializes in custom-glazed utilitarian ceramics.