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I received a BFA in Graphic Design and Printmaking from the University of Utah, where I was educated in the traditions
of Bauhaus, and influenced by the color theories of Joseph
Albers and bold designs of Pop artists of the 1960s.
Training in printmaking came from Robert Kleinschmidt,
who
delighted in my obsession with shapes and colors.
Tom Kass, who drilled me in mixing matched colors,
further
piqued my interest.
Raised in the incredible natural world, I have spent endless hours in the outback of western North America. I completed
an additional BS
degree in Biogeography, then served 15
years as Educational Program Manager for Red Butte
Botanical Garden. It
was my continuing experiences in the natural world that I caused me to recognize the designs
that flourished in the around me.
Since 1975
I have been a professional Graphic Designer, Illustrator, and Instructor completing assignments from colleges and universities, advertising agencies, government
agencies, offset printers, professional associations, and book publishers.
My
award-winning prints are popular sellers that have won awards and recognition around the world for precision
in registration and color matching .
I live
and print at Into the Woods Studio in Salt Lake City.
Serigraphic Techniques
Multi-color serigraphs as fine
art are uncommon because they are extremely labor intensive. Additionally, each
step of the process must be painstakingly precise, from selecting and preparing the image for print, to creating stencils, to planning color sequencing, to matching hand-mixed inks, to minutely registering and printing each color.
These are NOT computer generated
prints. The process is time consuming, labor intensive, and difficult, but the result is gratifying and well worth the
effort!
A stencil for each color is
produced photographically and transferred to a screen using hand-applied emulsions exposed with high intensity UV lights.
I hand mix colors to best
match those noted in the original scene. Each color imprint is hand
calibrated to each other color imprint to within 1/200 of an inch.
Each color requires up to 12
hours of work and each complicates the serigraph exponentially. For example, to create the 14-color serigraph, “Lunch Time” I created and burned 14 screen
stencils, passed each sheet under the screen 14 times, and hand pulled each color for a total of 1,400 impressions in the
edition of 67.
When dry, I sign, number, and
mat each serigraph. Only the very best are selected to be included in an edition. Each edition is unique, for when printing is completed, the stencils are destroyed.
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