Contemporary, Digital Printmaking, Engraving, Landscapes, Lithograph, Photogravure, Photolithograph, Prints

Sylvie Covey’s Printmaking Process

Lake George II. By Sylvie Covey. Photolithograph, 2010. Edition of 4. LINK.

Lake George II. By Sylvie Covey. Photolithograph, 2010. Edition of 4. LINK.

Last week, we talked with the fantastic contemporary artist Sylvie Covey  (She is one of the OPG artists we will be bringing to this week’s Capital Art Fair). Sylvie  Covey is a favorite here at the Old Print Gallery- we featured her stunning Lake George II in our 2012 Winter Contemporary Show, and gallery visitors and collectors are always moved by her impressive, expansive black and white Wyoming landscapes.

Sylvie was gracious enough to share some words on her technique and creative process used in her print series Wyoming (2011) and Lake George (2010), both available in our Georgetown gallery.  We hope you enjoy this inside look into her unique approach to the world of digital printmaking. Thanks again for sharing Sylvie!


 The process of making art is a continuous learning experience. As a multi media artist I attempt to celebrate, transcend or reverse the conventions of visual languages.

In today’s world we artists want to embrace new technologies while also holding on and comparing them with more traditional methods of making art.

Wyoming VII. By Sylvie Covey.  Photogravure, 2011. Edition of 6. LINK

Wyoming VII. By Sylvie Covey. Photogravure, 2011. Edition of 6. LINK

I take photographs of  fabulous landscapes, and dramatize the images digitally, sometimes in black and white, sometimes in split-toning, sometimes making color separations in CYMK. [Cyan, magenta, yellow and black.] I then print the files on laser transparencies to obtain positive films, to the scale of the anticipated final work.

The transparencies must have a specific microscopic halftone to define the image, for photo-etching I use 85 dpi, for photolithography I can go up between 220 to 300 dpi.

Wyoming IX. By Sylvie Covey. Photogravure, 2011. LINK. Edition of 6.

Wyoming IX. By Sylvie Covey. Photogravure, 2011. Edition of 6. LINK. 

I expose these transparencies on light-sensitive plates: for photo etching I must first laminate a copper plate with a polymer UV sensitive film emulsion. For photo lithography I use pre-sensitized aluminum plates [Fuji plates]. Once the plates have been exposed with UV light to the positive transparencies, the plates are developed in their respective developer, washed, and processed for printing.

I hand print all my plates and make very small editions, usually less than 10, because I have so many images to work with.

I print both photo etchings and photolithographs on my Charles Brand etching press.

I am very much involved in the process of making art with newer technology. Currently I work with transfer methods, on a variety of supports.

— New York, 2014. Sylvie Covey.

Lake George I. By Sylvie Covey. Photolithograph, 2010. Edition of 4. LINK.

Lake George I. By Sylvie Covey. Photolithograph, 2010. Edition of 4. LINK.


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Contemporary, Gallery Updates, Media, Prints

Washington Post Review of 2012 WCS

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American Night / Neighbor & Orion II. By Herbert Simon. Etching, aquatint, and handcolored, 2010. Ed. 1/20.

This past Friday, The Washington Post published a nice review of our Winter Contemporary Show in their Style section. It was written by staff writer Mark Jenkins, and featured in Galleries review, page C8, along with two other reviews of local DC exhibits. They even used an image of American Night/ Neighbor & Orion II by Herbert Simon, to accompany the article.

 

Some of our favorite quotes from the article:

“…Prints can suggest much with a few lines, sometimes highlighted by blocks of color. Fine examples of this approach include Edward McCluney’s “OSSACIP,” a nude silhouetted against a bright yellow background; Peter Gourfain’s “Winter Light,” a domestic scene endowed with drama by its thick black lines and contrast of blue and orange; and Ellen Nathan Singer’s “Autumn Market,” which depicts fruit, flowers and wooden barrels with seasonal gold and bronze…”

“…Richard T. Davis’s “Hartling Bay,” however, shows that fanatical attention to detail can be just as effective as artful simplification. This photorealist color serigraph of the Nova Scotia coastline appears to capture every ocean ripple, blade of grass and glimmer of sunlight. It’s a simple scene, but with the depth of an entire world.”

We encourage our followers to read the review ( link right here) and then come see our Winter Contemporary Show. The group exhibit remains on view until February 9, 2013. To view the works in our show digitally, check out our website!

And a big thanks to The Washington Post and writer Mark Jenkins for featuring our show and artists!

Hartling Bay. By Richard T. Davis.

Hartling Bay. By Richard T. Davis. Color serigraph, 1993. Ed. 101/155.

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Contemporary, Lithograph, Prints

Yolanda Frederikse

View From Key Bridge. By Yolanda Frederikse. Stone lithograph, 2011.

View From Key Bridge. By Yolanda Frederikse. Stone lithograph, 2011.

Yolanda Frederikse is a new addition to our contemporary collection. Known for her prints and watercolor scenes of the Washington Metropolitan Area, Yolanda is regularly inspired by her environment. Her printmaking includes monotypes, linocuts, and stone lithographs. She works of a studio located in Kensington, Maryland.

She is a Signature Member of the National Watercolor Society since 1984. She has exhibited with the American Watercolor Society and received its Travel Award. In 2000, Frederikse was juried into the Washington Society of Landscape Painters and was later awarded a fellowship from the National Endowment for the Humanities for her measured drawings of 18th century structures in Maryland.

Frederikse has painted extensively in international locals, including Italy, Holland, UK, Bali, Mexico and South Africa, and has led workshops in Portugal. She has exhibited throughout the US and in Shanghai, New Delhi, Cairo, and St. Petersburg. Having received her Bachelors of Fine Arts and a Bachelors in Fine Art Education, as well as being awarded a Master’s Degree from American University in Fine Arts, Yolanda is extremely learned in her craft. She has taught at the university level, and her unique monotype printmaking technique is described in detail with photos in Monotype Mediums and Methods for Painterly Printmaking (Julia Ayres, 1991).

Frederikse regularly shows her work in solo exhibitions. Her latest exhibition, “Before and After Derecho” was at the Washington Printmakers Gallery from October 31 – November 25, 2012. Her print View From Key Bridge (stone lithograph, 2011) was selected for our “2012 Winter Contemporary Show” and remains on view until February 9, 2013.

Reunion. By Yolanda Frederikse. Stone lithograph, 2011.

Reunion. By Yolanda Frederikse. Stone lithograph, 2011.

Artist Statement: “I discovered that my own little postage stamp of native soil was worth writing about,” said author William Faulkner, “and that I would never live long enough to exhaust it.” As an artist and printmaker, I am similarly convinced that I will never tire of my immediate environment. The more familiar I become with my home area, the stronger I feel the need to make it a focus of my art work.

 My passion for nature has led me to landscapes, although I am also attracted by the human figure, which I believe can bring life and a special meaning to my work. My continuing curiosity about Washington DC, Maryland and Virginia, as well as other parts of the mid-Atlantic, the rest of the US and the world, has given rise to prints depicting birds and florals, parks and rural areas, as well as images of city life, always guided by a need for realism.

 I realize that in future years people may see a very different world than I have committed to paper and canvas. My prints and paintings will bear witness to the changes and, I fear, often to irretrievable loss.”

 

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Contemporary, Gallery Opening Receptions, Prints

OPENS TONIGHT!

 

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Aquatint, Contemporary, Etching, Gallery Opening Receptions, Gallery Openings, Linocut, Lithograph, Monoprint, Monotype, Photolithograph, Prints, Woodcut

2012 Winter Contemporary Show

The Old Print Gallery is pleased to present its 2012 Winter Contemporary Show, which will open this Friday, November 16, 2012. The show will be an assortment of works by both up-and-coming and established printmakers, in several mediums.  Highlights include a series of charged photolithographic landscapes by Sylvie Covey, beautifully involved linocut relief prints by Karima Muyaes and Tenjin Ikeda, and boldly hued prints by local artists Susan Goldman, Philip Bennet, and Joan Krash.

Bottles & Jars I by Peri Schwartz captures the crisp, luminous glow of the winter months and Neighbor & Orion II by Herbert Simon delivers a similarly poignant study of a hushed, nocturnal landscape, thanks to purposeful use of color. Local artists Jake Muirhead and Marti Patchell’s impressive draftsmanship result in intricate and delicate still lifes, elevating the familiar artichoke and cereus blossom in the process. Many of the artists in the 2012 Winter Contemporary Show are new to the Old Print Gallery, and offer a fresh approach to printmaking.

The exhibit opens with a nighttime reception at the Old Print Gallery on Friday, November 16, from 5-8pm. Many of the artists will be in attendance for the opening, to answer questions regarding their work and artistic process. The opening reception is free and open to all ages. The show will remain on view until February 9, 2013.

Selected Artists:  Philip Bennet, Sylvie Covey, Richard T. Davis, Deron Decesare, Yolanda Frederikse, Susan Goldman, Peter Gourfain, Tenjin Ikeda, Joan Krash, Richard Lubell, Paul Marcus, Ed McCluney, Judy Mensch, Jake Muirhead, Karima Muyaes, Marti Patchell, Matt Phillips, Susan Pyzow, Peri Schwartz, Herbert Simon, Ellen Nathan Singer, Hank Virgona, and Steven E. Walker.

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