Printmaking Terminology
Original prints may contain natural variations due to paper texture and the fact that they are manually printed by a human being. They are distinct from other prints that may be reproductions of original artwork, which is common with paintings.
Limited edition prints are numbered (e.g. 1/10) and are almost or exactly identical to each other. I have made several second editions, usually when participating in a print exchange with other artists, which are signed with roman numerals (e.g. I/X).
Artist proofs are labelled "AP" and are high quality but unique prints, sometimes considered more valuable than prints from their respective limited edition.
Registration is the process of lining up overlapping layers when printing.
Chine collé is a technique where tissue-like paper is adhered to the print, often underneath a layer of the image.
Intaglio is a form of printmaking where an engraved or etched image is inked by hand and printed on wet paper.
Aquatint is a method used in intaglio printmaking to create areas of different values (light/dark) by etching a dotted texture onto the plate.
Personal Prints Artist- 2020 SFCB Roadworks Steamroller Printing Festival
I carved a linoleum plate as a Personal Prints Artist for the San Francisco Center for the Book's 17th annual Roadworks Event on September 27. Thanks so much to those of you who purchased my print "Burgeoning Transitions" to benefit the SFCB. I also participated in a roundtable discussion, which you can view on the SFCB's Vimeo channel.
2015 Steamroller Print Fest
Thanks to our sponsors!
Thanks to everyone who participated in the making of large format prints using a steamroller as a printing press in October 2015 at the Bothwell Downtown Art Studios! We made seven prints and had over 150 visitors during the day. The collaborative plate will continue to be carved during open studio events until it is ready to print. Click on the photos below to view.
 the linoleum plate after being carved, ready for inking (photo by Julie Hayward-Trout) |  fellow printmaker Talia Frank and I inspecting the plate, removing dirt and debris before additional ink is rolled on (photo by Kathy Williams) |
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 the double drum asphalt roller passing over the stack with the inked plate and paper (photo by Wilson) |  Revealing a finished print (photo by Kathy Williams) |
 community members add their designs to the collaborative plate inside the Bothwell Downtown Art Studios (photo by Julie Hayward-Trout) |  volunteers and visitors work together on the collaborative plate (photo by Wilson) |
 the practice plate for people who wanted to try the tools with no pressure (photo by Julie Hayward-Trout) |  detail of water pattern |
 detail of fire pattern before being carved |  my mom and dad helping cut the roll of paper down to 44" x 44" squares |
 my dad helping transport four pieces of MDF to the studio to serve as movable tabletops for carving, inking, paper, and printing in large format |
Hughes LC/MS Consulting
Highlights from the 2015 SGCI conference in Knoxville, Tennessee.
social interference
my contribution to the SGCI members' exchange portfolioexchange portfolio
other prints from the exchange portfolio with 380 participantsopen portfolio
sharing work during the open portfolio sessionprintable circuits
One demo was about using conductive ink to screenprint circuitsUndergraduate Work at Western Michigan University (2012-2014)
I graduated from WMU with a BFA in Printmaking in December 2014. Here is some work from my final semester.
I took a paper marbling class at the Kalamazoo Book Arts Center. Check out what I made!
Thanks to a grant from the DeVries Professional Immersion Fund at WMU, I was able to attend two printmaking workshops at Kala Art Institute in Berkeley, CA during the summer of 2014. Here are some images of the shop and the pieces I worked on there:
I completed an internship at the Kalamazoo Book Arts Center during the summer of 2014. Here are some of the projects I worked on during the internship:
