Mixit

Mixit Print Studio

Mixit PartnersPhoto credit: Robin Z Boger

Adrienne Ginter

Photo credit: Robin Z Boger

Secret Forest

Andrea Connor

Selkies

Mongezi Ncaphayi


Migrant Housing

Anne Bernard-Kerney

Sisters

Mixit Print Studio

Working a platePhoto credit: Robin Z Boger

Anne Neely


Squall

Anne Russell


The Collector

Annie Silverman

Out the Back Door

Aparna Agrawal


Lost Song 2

Mixit Print Studio

Takach pressPhoto credit: Robin Z Boger

Beth Galston


Drilled

Bevil Conway

Twin I, Twin II

Boriana Kantcheva


Mishka and Nibbles

Bree Curtis


Rock Circles

Mixit Print Studio

Running a large print


Carlyn Marcus Ekstrom


The Sun and Moon Were In Opposition

Catherine Kernan


Give / Take

Steve Black


January Thicket, Looking West

Charlotte Kaplan


Sunbeam Mixmaster

Mixit Print Studio

Preparing the pressPhoto credit: Robin Z Boger

Etching Demonstration: Mongezi Ncaphayi

01First, the copper plate is washed and degreased to remove all oily residues from the surface, so the etching fluid is able to make full contact with the copper.


Etching Demonstration

02The printing paper is placed in a water bath to soften and expand the fibers. This enables the paper to pull the ink off of the plate more effectively.



03Layers of felt, called “blankets”, are placed on the press to even the pressure of the metal roller into a consistent, strong force.



04Next, the etching ink is scooped from the can and prepared for printing. Depending on the image to print, the printmaker may modify the ink with various additives, making the ink softer, harder, or easier to wipe.



05The printmaker then applies the prepared ink to the surface of the etched copper using a card or other flat tool. The areas that are etched will grab on to the ink as it is applied.



06The excess ink is then wiped from the plate with a starched piece of cheesecloth called a tarleton. The printmaker can use the tarleton to control the amount and consistency of the ink left on the plate. However, non-etched areas are usually wiped clean.



07A thin film of ink, called “plate tone”, can be removed gently with paper. Phone books are an excellent source of such paper.



08The inked plate is then placed on the press. The soaked paper is set under the blankets and folded over in preparation for printing.



09The printmaker then cranks the large wheel on the press to draw the paper and the blankets under the large metal roller. The high pressure from the metal roller presses the paper into the crevices of the etching, drawing out the ink wiped into them.



10The paper is removed from the plate, showing the ink that has transferred to the surface.



11The finished print, drying!


Chris Mindis


Sunflowers

Danette English


Woman on the Wire

Debra Olin

One Hand

Dorothy Thompson

Winter Calligraphy

Mixit Print Studio

Polishing a copper etching plate

Photo credit: Dianne Henning

Elizabeth Nicula


Ways and Means

Erin Smith

Not-yet Elegies

Heddi Vaughan Siebel

Photo credit: Robin Z BogerWhatever

Ilana Manolson


Putting Down Routes

Mixit Print Studio

American French Tool Etching Press


Jackie Miller


Expressions 6

Jamie Wainright

Black House

Jan Arabas

Photo credit: Robin Z BogerHanuman Chases the Sun

Jane Goldman

Photo credit: Robin Z BogerThere is No Map

Mixit Print Studio

Cast-Iron LeDeuil Press


Jean Pascoe


Night Sky, Raven Passing

Jesus Matheus


Sign / Form

Joanna Kao

Untitled

Joel Janowitz


Steps

Mixit Print Studio

In the studioPhoto credit: Robin Z Boger

Julia Murray

Somewhere Over the Rainbow

Julia Talcott


Onward and Upward

K.E. Duffin

Wave Sleep

Karen Crowley Falkoff


Acid Tears

Mixit Print Studio

Placing paperPhoto credit: Robin Z Boger

Karen Walter


Unearth

Kent Vienot


32 Clifton St

Kim Berman

Rethinking Ink: A Pathway

Lei-San Doo

Each Day a Flower

Mixit Print Studio

Morning at the Studio


Liz Shepard


Up and Out

Lori Schouela


Enlightened Moment

Lori Warner

Swaddle

Lynn Geiger Murray


Along the Way

Mixit Print Studio

Final cleaning of a printing plate


Marcia Lloyd


Traces

Marty Epp-Carter

Losses and Gains

Monotype Demonstration: Joel Janowitz

01A monotype is a form of printing where inks are applied to the printing surface by brush, roller or other means. Monotypes share many qualities with painting, in that brushes are used and the hand of the artist is directly involved in producing the image. The monotyped image cannot be duplicated exactly, unlike with other printmaking techniques. Monotypes are usually printed on paper, and a press is an integral part of the process. Also, residual ink on the plate will still print multiple times, allowing interesting layering techniques to be used.


Monotype Demonstration

02Here a roller is being used to apply ink to the printing surface. The surface is usually Plexiglas. Plexiglas is strong, cheap, easily cleaned and transparent. An artist can trace designs or photographs laid underneath and then work with the ink above to create new images.



03Monotyping also allows for easy editing and erasing. Here the artist removes applied ink with a rag. He may choose to leave some ink behind, creating transparency effects and areas of lighter color.



04Sometimes the artist’s hand is the best tool for the job. Finger, palms and heels of the hand allow direct control of the ink surface.



05Q-tips enable fine detail work.



06Brushes can paint with ink, but can also paint with solvents. Using solvents over ink makes ripple effects and can lighten the color that prints.



07Here the artist softens the edges of the large crescent shape with his fingers.



08A small brayer is used here to create streaks and stripes in the background composition.



09The present monotype, on the Plexiglas plate on the right, is compared with a previous version of the print.



10Satisfied with the image, the artist prepares to print. He will use paper soaked in water to expand the fibers, which will help pull the ink off the printing plate.



11The print is run through the press, and the paper is pulled off the printing surface. Notice there is still ink left on the plate below. The artist can use this ink to create a new variation on this composition.



12The finished print, hanging up for drying.


Mary Sherwood


First Time

Mary Spencer

Two Queens

Amy Kaufmann

The Pear

Nancy Popper


Float

Mixit Print Studio

Printmaking InksPhoto credit: Robin Z Boger

Nina Wishnock

Junk

Nona Hershey


Portal

Peggy Badenhausen


Sequence 2

Peter DeCamp Haines

Nine-element Persona

Mixit Print Studio

Applying stopout to a copper plate

Photo credit: Dianne Henning

Phillipa Cully

Untitled #2 (Oxalis)

Phyllis Ewen


Waterways NE

Prilla Smith Brackett


Wellspring

Rachel Atkinson Chapman

Table II

Mixit Print Studio

Washing a copper plate to remove grease and etching fluid


Randy Garber


To My Surprise

Robert Siegelman

Untitled (Missing Pages)

Robin Z. Boger

Photo credit: Hallie Boger Hartman

Whakatauki

Ron Rumford

Salute

Mixit Print Studio

The Studio is built into a building that once housed the Mix-It Soap Company.


Sandra Butler


Structural Impermanence: Bridge Rift

Sarah Shalbetter

Brooklyn, NY

Susan Schmidt


Once there was and once there was not

Tamar Etingen

Untitled

Mixit Print Studio

Printmaking workspace


Ted Ollier


25 Permutations of 25

Thaddeus Beal


Four Poles

Valda Zalkains

Corn Circle

Wendy Prellwitz

September Morning Creek Photo credit: Robin Z Boger

Jane Wilson

Photo credit: Robin Z BogerMake Hay

Art & Photos

Mixit