The Hand Magazine Issue #9

The HAND A A MAGAZINE MAGAZINE FOR FOR REPRODUCTION-BASED REPRODUCTION-BASED ART ART

Issue 9, July 2015

$10

2.Contents.pdf

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Troy Colby, Fleeting Upward, Archival pigment print, troycolby.com

ART ART

3-11 Sidetrip: 12&13 14-21 22-24 25-45 46&47 48-57 58-59

by Lynn Benson

Nick Conbere & John Holmgren

ART

Kentros Lab:

ART Glossary

Cover image: Rocio De Alba, Ode to Innocence, Archival pigment print, www.rocioalba.com

Editors’ note:

Dear Readers, Welcome to our second anniversary issue!! It is only two years, but already we feel like we have done so much. We have met and published so many wonderful artistic people. Some of those people were artists whose work we had admired for a long time. The opportunity to connect with and meet your creative heroes is truly a very satisfying thing. But most of those people we only came to know because of this endeavor; and that is a very satisfying thing as well. Making this magazine has allowed us to present the most extraordinary and progressive contemporary art in the world. We’ve gone to festivals and fairs all over the world (well, our magazines did!). We have been able to expand the audience for that work by working with both the printmaking and photographic communities. And we are proud of our open interpretation of printed and photographic work that has allowed us to include the glass, ceramic, painting, and collage communities. We have already made plans to extend that into sound, film, and video (stay tuned...). New audiences for art is a great thing. Hopefully we have opened some new eyes and inspired new work.

But we have also learned so much! We have seen so many new artists whom we may not have had the opportunity to see otherwise. We have been able to broaden our own horizons and repertoires as art practitioners. We have curated two exhibitions, and learned a great deal about how to do that- and how not to do that! In fact, we have a great catalog of our exhibition, A Show of Hands, now available on the website. Check that out; it’s killer! And we have made new friends. That is really the best part- new friends, new colleagues, and new horizons. And, as Karen Carpenter once sang, we’ve only just begun!

This issue has three great feature articles. The first, by Lynn Benson, describes her work with water resources. The second, by Nick Conbere and John Holmgren, combines printmaking and photography to also talk about water resources!

And the third, by Megan Griffin, is another science- y kind of project working with cell structures and microscopy. We really didn’t plan it that way. It’s just serendipity! So this issue has a sort of environmental theme. It’s funny how themes begin to emerge on their own in these issues. Thank you to those contributors- and to everyone who submitted and contributed to this issue.

Thanks for helping us celebrate our birthday! And to our subscribers, we hope you enjoy your little gifts. We love you. Thank you.

Finally, we would like to mention a few additions to the magazine. First, we have added a list of artists to help you find things more quickly. We have also added a glossary of terms in the back, so that you may learn a bit more about an unknown process. This glossary is researched from several sources and paraphrased in our own terms. It is intended merely to be a quick reference. And we have added a few advertisements. All of these things were done in the spirit of making The Hand Magazine a better resource for artists and art lovers. We hope that our advertisements, in addition to supporting our work (I mean, let’s be honest here!), will also serve as a resource for our readers. Many readers have asked us about where they can get supplies, where they can see exhibitions, where else they can see or submit work, or get work done. We sincerely hope that we can provide you with answers to those questions, as well as help support our fellow publishers, artists, gallerists, and collectors. Hands are for helping. Hands are for scratching each others backs. And Hands are for building, creating, hugging, holding, and making new. So let’s join hands! Happy birthday to us!!

Woohoo!!! Enjoy the magazine!

Adam Finkelston Owner, Publisher, Co-editor

James Meara Co-editor, Lead Designer

Adam Finkelston is a photographer and art educator based in Roeland Park, KS. He has shown his photographs in solo exhibitions in Kansas City, MO and in juried and group exhibitions throughout the United States.

James Meara is an artist based in Albuquerque, NM whose work primarily involves printmaking, but also drawing, painting, photography, & multi-media processes.

Meara has been involved in both group and solo shows across the United States.

www.adamfinkelstonphotography.com

www.jamesEmeara.com

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Contributing Artists Ron Anderson, p. 19 Brendan Baylor, p. 17 Miguel Angel Bejarano, p. 11 Lynn Benson, pp. 12 – 13 Diana Bloomfield, p. 60 Brian Bookwalter, p 27 & 34 Angie Brockey, p. 33 Radoslaw Brzozowski, p. 50 Troy Colby, Contents Page & p. 21 Nick Conbere & John Holmgren, pp. 22 – 24 Brian Culbertson, p. 48 AnnMarie Cunningham, p.7 Denis Darzacq & Anna-Iris Lüneman, p. 10 Rocio DeAlba, Cover Daniel Duarte, p. 4 & 36 Robert Dutruch, p. 28 Kate Earl, p. 25 Anne Eder, p. 37 Ross Faircoth, pp. 8 Kristin Flaherty, p. 40 Isabel Fernández Echavarría, p. 44 Magda Fernandes & Jose Domingos, p. 28 Megan Griffin, pp. 46 - 47 Robert Hardgrave, pp. 4 & 5 Ralph Hassenpflug, p. 54 Brett Henrikson, p. 3 Jamie Johnson, p. 57 David Kachel, p. 55 Gregory Lancaster, p. 41 Fernanda Larrain, p. 42 Sodam Lee, p. 45 Gina Louthian- Stanley, p. 9 Etta Martin, p. 26 Tara McDermott, p. 34 Scott McMahon & Salvador Ahmed, p. 48 Kendall McMinimy, p. 6

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Joseph O’Neill, p. 26 Amy Parrish, p. 18 & 56 Sean Phillips, p. 29 Meghan Pohlod, p. 15 Matus Plecho, p. 38 & 39 Denise Presnell-Weidner, p. 16 Christina Pumo, p. 29 Samantha Parker Salazar, p 11 Travis Rockett, p. 49 Kris Sanford, p. 56 Kimberly Schneider, p. 43 Sherry Selevan, p. 54 Dan Shepherd, p. 16 Jason Sobottka, p. 30 Mohamed Zakaria Soltan, p. 31 Jessica Somers, p. 51 & Back Cover S. Gayle Stevens, p. 32 Tom Styrkowicz, p. 57 Jeremy Tan, p. Inside Back Cover Bill Vaccaro, p. 41 Dominique Vitali, p. 14 Melanie Walker, p. 20 Georgia Ward-Collings, p. 14 Jacqueline Webster, p. 35 Jeanne Wells, p. 40 James Wigger, pp. 53 & 54 Anna Malina Zemlianski, p. 18 Ryan Zoghlin, p. 27

Image by: Daniel Duarte, Garwin II, wet plate collodion tintype, www.daniel-duarte.com

Brett Henrikson Chaotic Forms #111 Silver gelatin print from wet plate collodion negatives bretthenrikson.com 3

Robert Hardgrave 07 Toner transfer built from cannibalized drawings, photographs and collage, on paper, over canvas roberthardgrave.com

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Robert Hardgrave Blues Toner transfer built from collaged photocopies of cannibalized drawings and photographs, and paint, on canvas roberthardgrave.com

Robert Hardgrave BOA Toner transfer built from cannibalized drawings, photographs and collage, on paper, over canvas roberthardgrave.com

Robert Hardgrave Oxbow Toner transfer on mulberry roberthardgrave.com 5

Kendall McMinimy Pivotal 2 Acrylic and toner on birch panel mcminimy.com 6

Ann-Marie Cunningham Where Do I Begin And You End I Intaglio print annmariecunningham.com 7

Ross Faircloth St(air)(are)s Hand distressed and toned silver gelatin www.rossfaircloth.com 8

Gina Louthian-Stanley Approaching Fall Distressed archival pigment print with oil stick and printing inks, and collage ginalouthian-stanley.blogspot.com 9

Double Mix No. 6

Double Mix No. 28

Double Mix No. 11

Double Mix No. 24

Denis Darzacq and Anna-Iris Lüneman Archival pigment prints and earthenware denis-darzacq.com annairisluneman.com 10

Miguel Angel Bejarano The Lost Hills I Instant film from Polaroid camera (recovered negative) ma-bejarano.com

Samantha Parker Salazar CRASH Monotype on hand-cut paper, digital collage, paint, flagging tape, monofilament sparkersalazar.com

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SIDETRIP by Lynn Benson “All photos are accurate. None of them is the –Richard Avedon, truth.” photographer

Bending Mergin, Archival pigment print, 7” x 43/4”, 2013.

Bending Mergin, Archival pigment print, 7” x 51/4”, 2013.

Much of my recent work could be called “ambiguous landscape,” residing in that

sance version, where a distant horizon can

realism. In these works the landscapes are real–or at least, accurate.

world as one big ball, with all of its beauty

While the materials may vary, the concepts in my work link to nature’s processes, and, most especially, to world waters. I’m fascinated with the sinuous and meandering lines of rivers, the rich dynamics of large river deltas, and the lines where water meets land on the skin of our earth, as seen from our contemporary satellite viewpoint.

These sky-down views offer a new 12 kind of landscape, unlike the Renais-

paths. The former represents the convergence at St. Louis, Missouri, of three rivers, the Mississippi, the Missouri, and the

Midler). We can navigate from point A to point B using mapping technologies. And we

river convergences overlap to create a somewhat botanical form with imagined colors and several layers of symbolism, being completed the same year (2012) as the 40-year anniversary of the Clean Water Act.

used as source material two of my oil

Tribal Waters was perched on an easel in my studio one day when curiosity prompted me to photograph what I was seeing, looking

souria and Tribal Waters, each organic

It immediately became clear that doing so had featured an unpeopled satellite view of

With a nod from local gallery owners/curators, Erin and Eric Dodson, I stopped another project, took a “sidetrip,”

across the plane of the canvas, I was looking at these places as if from a river bluff, as I

using three different cameras, variously

emerge. I could relate to these abstract

and Let’s Remember This were shot with an iPhone 5. For Below Beyond, I used a Canon PowerShot Sx150 IS. Bending Merging was a Canon EOS REBEL T1i. The pleasure in the

ing satellite imagery, I was increasingly With blurry edges of limited focal length and receding rows of nubby canvas as back on the ground. Or, depending on the angle of the shot, an airplane! –an intermescapes” in recent years.

renewed with every photo shoot. Experiments with cropping, color proofing and

modern-day extensions of early photos, reminders of a trip across the land.

Likewise, the print sizes are small, belying the images can impart.

While SIDETRIP morphs from satellite technology to mapping to paint on canvas to handheld camera to print to gallery wall, the accuracy remains. The cameras convey what they saw, and that includes actual river paths.

Maybe Avedon’s “truth” is buried somewhere in our individual responses to the photos.

Kiosk Gallery, Kansas City, Missouri, November 15th, 2013 - January 10th, 2014

stems from the desire to consider these

Below Beyond, Archival pigment print, 5” x 63/4”, 2013.

For more, visit: www.lynnbenson.com

Let’s Remember This, Archival pigment print, 6” x 6”, 2013.

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Dominique Vitali Looking Back Collage, monoprint, chine collé dvitali.com

Georgia Ward-Collings Untitled from Palimpsest Series Screen print 33 14

Meghan Pohlod LOCI (detail and installation view) Lithography, monotype, chine collé, wax cargocollective/meghanpohlod.com

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Denise Presnell-Weidner Ophelia Digital print on aluminum mounted on board denisepresnell-weidner.com

Dan Shepherd Through The Unknown Diazotype, unique, triptych www.danshepherdimages.com 16

Brendan Baylor Mausoleum Screenprint with laser engraving brendanbaylor.com 17

Amy Parrish Whipple Ohio Moon Digital print of composited image with wet plate negative www.amyparrish.com

Anna Malina Zemlianski Untitled 4 Lith prints, collage cargocollective.com/annamalina 18

Ron Anderson Abandoned Doorways (above) & Abandoned Childhood #2 Photographic transfer on watercolor paper ronandersonphotography.com

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Melanie Walker Sense of Place Cyanotype, gum dichromate, Van Dyke with silk melaniewalkerartist.com 20

Troy Colby Replacing A Loved One Archival pigment print troycolby.com 21

The Columbia River: A collaboration by Nick Conbere & John Holmgren Using art as a visual and narrative critical tool, our project investigates the presence and impact of hydro-electric dams on the Columbia River in Washington, Oregon, and British Columbia. While the Columbia River dams have been celebrated for their massive energy production and economic benefits, they have also incurred environmental and related social costs as they reshape aspects of the river basin. Building on themes inherent to both John and Nick’s interests, the project explores ideas of environment, industry, time, and memory.

We ask how aesthetic relationship can offer compelling ways to consider human constructions that alter natural forces. Through our collaborative documentation and interpretation, we will aim to explore parallels among various places and histories along the river, suggest patterns and relationships, and facilitate documentary, metaphor, and allegory in considering the presence of the dams.

-Nick Conbere & John Holmgren *Bonnevil e 3 (drawn hil s in foreground, dam image in background), Photopolymer intaglio, archival pigment print, 19x21.25” (inside dim ension 17x14.75)

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Bonnevil e 2 (vertical strip of orange turbines, with vertical fish on left) screen printing on archival pigment print 22x34”

Bonnevil e 5 (fish swimming across with photo of dam in lower right) Lithography, screen printing, photopolymer intaglio print 20”x29.5”

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Bonnevil e 7 (orange cones) Screen printing on archival pigment print 13.5 x 19.75”

Wanapum 1 (lookout point with panoramic photo) Etching on archival pigment print 24x31”

nickconbere.com 24

Bonnevil e 1 (copper plate – guy on fishing platform) 22.25x30” (inside is 16x24”) Etching, archival pigment print

johnholmgren.com

Kate Earl Saint Martin Van Dyke print kateearlphotography.com 25

Joseph O’Neill Reflection 9 Archival pigment print jotog.nyc

Etta J. Martin The Waiting Game Archival pigment print ettajamieliegh.wordpress.com 26

Ryan Zoghlin Bottled Rocket 2 Silvertone (orotone) print, silver gelatin in glass reagent bottle, backed with silver powder rfoto.com

Brian Bookwalter Shawshank Archival pigment print from hand manipulated and scanned Polaroid Time Zero film bookwalterphotography.com

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Robert Dutruch Basilica of Sacré- Cœur, Montmartre, Paris Heliogravure bretthenrikson.com

Magda Fernandes & José Domingos Alegria Breve Cyanotype, toned with coffee imagerie.imagerieonline.com 28

Sean Phillips The Faceless Analogue collage facebook.com.sean.phillips.9047

Christine Pumo Doppelgänger V Solarplate intaglio monoprint christinapumo.com

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Jason Sobottka Elk Dissolve AKA The Bleat Monotype, archival digital print, colored pencil, glitter www.jasonsobottka.com 30

Mohamed Zakaria Soltan Crossbred Face 1 Archival pigment print on canvas www.soltanart.weebly.com 33

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S. Gayle Stevens Cycle Wet plate collodion photogram sgaylestevens.com 32

Angie Brockey Forever Sea (above) and Black and White Wet plate collodion agatype (pendant) www.etsy.com/shop/SilverAndGlassPhotog

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Brian Bookwalter Blue Spruce Archival pigment print from hand manipulated Polaroid Time Zero film bookwalterphotography.com

Tara McDermott Temptation Archival pigment print taramcdermott.com 34

37.Webster.pdf

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Jacqueline Webster Fish Kill Cyanotype on wood jwebsterphoto.com 35

38.Duarte.pdf

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Daniel Duarte Oil Can Study (VI) Wet plate collodion tintype www.daniel-duarte.com 36

39.Eder.pdf

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Anne Eder Wings Bones Light Platinum print anneeder.com 37

40.Plecho.pdf

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Chit- chatting

Poor Girl

Matúš Plecho Cycle: Mirror For The Man Mixed media, printed on B & W Baryta paper matusplecho.com 38

41.Plecho.pdf

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Twisted

Dominus of Creation and Creature of Domination

Matúš Plecho Cycle: Mirror For The Man Mixed media, printed on B & W Baryta paper matusplecho.com 39

Jeanne Wells Peony II Polymer photogravure with chine collé jeannewells.com

Kirstin Flaherty Otis III Mezzotint kirstenflaherty.com 40

Bill Vaccaro Maybe Ziatype from wet plate collodion www.billvaccaro.com

Gregory Lancaster All Sizes Archival pigment print from double exposed negatives, Holga camera gregory-lancaster.com 41

Fernanda Larrain The Black Garden #5 Wet plate collodion ambrotype www.fernandalarrain.com 42

Dreams

Undercurrent

Abstract rock

Kimberly Schneider Point Lobos and Beyond Selenium toned gelatin silver print kimberlyjschneider.com 43

Isabel Fernandes Echavarría Mata Ihi / Mystery Pinhole photography, silver gelatin print ojosnegros.cl 44

Sodam Lee Fishing Boys Archival pigment print 45

Kentros Labs By:

Megan Griffin

* Micro Stitch 4, Inkjet pigment print & embroidery thread, 2015.

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I have been working with the Kentros Lab at the University of Oregon.

One study the lab is working on uses a virus and transgenic mice to explore the neural pathways underlying pavlovian fear conditioning. In pavlovian fear conditioning, an animal learns to associate a neutral stimulus (a tone) with an aversive stimulus (a mild foot shock). Over time the neutral stimulus becomes associated with the aversive stimulus.

To assess whether the animal has learned the association, we look at levels of freezing during the tone. If the animal has learned to associate the tone with the shock, its freezing levels should go up when hearing the tone even when the tone is no longer followed by the foot shock.

Activity in neurons causes the transgene to express a special receptor only on the surface of active neurons.

This receptor first appears on the surface of active neurons about 4 hours after neural activity so 4 hours after training a virus is injected into a part of the animal's brain called the amygdala. The virus can only infect cells that have the receptor on their surface.

Micro Stitch 2, Inkjet pigment print & embroidery thread, 2015.

Micro Stitch 1, Inkjet pigment print & embroidery thread, 2015.

“Within my images I draw connections using thread to show how cells are talking and responding to one another.”

Micro Stitch 3, Inkjet pigment print & embroidery thread, 2015.

Once they have infected these cells they use another part of the transgene to travel one synapse back and infect all the cells that talk directly to the activate cells. The lab is using this tool to examine whether the active cell population in amygdala changes when the behavioral treatment changes. Any differences in the number or location of cells talking to the active cells in amygdala, between fear conditioned and baseline treatments, should represent the formation of a memory of the tone shock association.

Studies in mice are quite relevant to humans because 99% of mouse genes have an analogue in humans. More importantly the structure and organization of the mouse brain is very similar to humans. Studying memories of aversive associations could eventually lead to treatments for disorders like post traumatic stress disorder, where memories of an aversive experience are so strong they interfere with normal function.

Thanks to Leah De Blander who taught me about this experiment and how to use the microscope, I have been able to capture and create my own images exploring these studies.

Within my images I draw connections using thread to show how cells are talking and responding to one another.

For more information, visit: megangriffin.com -All images by Megan Griffin.

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Brian Culbertson Visage 23 Mordançage www.brian-culbertson.com

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Scott McMahon & Ahmed Salvador Silhouettes Black and white fiber paper wrapped in tinfoil envelope, riddled with pinholes, sent through the mail, exposed from New Mexico to Pennsylvania scottmcmahonphoto.com www.firefly-letters.com

Travis Rockett Lumenocity No. 2 Lumen print on Luminos bromide gelatin silver paper www.travisrockett.com 49

Radosław Brzozowski Homage To The Masters Gum bichromate print radoslawbrzozowski.com 50

Jessica Somers Phoenix #15 Archival pigment print and encaustic jessicasomers.com 51

James Wigger Domina Nostra Spei Two wet plate collodion Plexitypes, burned, cracked, and melted, backed with smoke, sculptured varnish and gold leaf www.jameswigger.com 52

James Wigger Notre Dame du Jardin en Or Wet plate collodion ambrotype, backed with smoke, silver leaf and gold leaf www.jameswigger.com

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Sherry Selevan Lady On a Mast Dry screen- printed glass powders on kiln-fired glass with metal base www.sgs-artglass.com

Ralph Hassenpflug Exile 4 Archival pigment print www.RalphHassenpflug.com 54

David Kachel Tomando Diéz Minutos Hand- pulled photogravure www.davidkachel.com 55

Kris Sanford Folding Chairs Archival pigment print www.krissanford.com

Amy Parrish The Dance Archival pigment print with encaustic www.amyparrish.com 56

Limited edition prints available EXCLUSIVELY through The Hand Magazine!! thehandmagazine.wordpress.com Ricardo Ruiz La Cucaracha Press Rodolfo Marron III Sean Culver &

The HAND IS ADVERTISING!!

For information on advertising in The Hand, e-mail Adam at thehandmagazine@icloud.com

A catalogue of our exhibition at A1LabArts Gallery for the Southern Graphics Council International Conference.

An All- Star team of Hand Magazine contributors in one catalog. Available exclusively through our website!

Glossary of Processes Albumen Print- See “Salted Paper Print”. Albumen is an egg- based hardener that is added to the salting solution to create a harder, more durable surface.

Anthotype- Photographic process using the naturally- occurring chlorophyll from various organic materials mixed with distilled water or alcohol to create an emulsion. The emulsion is hand applied and exposed using a transparent positive to UV light. The UV light bleaches out the exposed areas. Exposures can last days or even months depending on the emulsion and variables related to the sun.

Aquatint- An intaglio printmaking process using powdered rosin, usually heated onto a metal plate in order to create tonal variation.

Archival Pigment Print- A digital print using pigmented ink laid down on a surface using an inkjet printer nozzles.

Calotype- The first photographic negative. Invented by Sir William Henry Fox Talbot. The paper is coated with a silver nitrate emulsion and exposed in the camera. After developing and fixing, the negative image can be waxed to increase the translucency of the paper. Most often printed using the salted paper printing or albumen techniques. See “salted paper print” and “albumen”.

Chine collé- In printmaking, the use of a separate paper or tissue on top of the main substrate, pressed between the main substrate and the plate that is being printed. Used to create a different layer of color or texture.

Cyanotype- Also called a “blue print”. A contacted printed photographic process using ferric ammonium citrate and potassium ferricyanide to create an ironbased emulsion. The emulsion is applied by hand to paper and exposed using a transparent negative to UV light. The UV light reacts with the iron to create a blue print. The print can be toned using tannic acid or a number of other substances.

Daguerréotype- The first commercially successful photographic process, invented by Louis- Jacques- Mandé Daguerre. A silver- plated copper plate is polished to a very high sheen. The plate is sensitized using iodine vapors. After exposing in a camera, the plate is developed using mercury vapor. The result is a highly reflective and extremely detailed image that is also extremely delicate.

Diazotype- A contact- printed photographic process using diazonium salt and Azo dye in water to create an emulsion. The emulsion is coated onto a substrate- usually paper but also vellum and polyester film. The sensitized substrate is exposed to a positive transparency using UV light. The UV light neutralizes the exposed Diazo solution. This is done in a special machine using rollers to convey the master image and the Diazo paper through. The sheets are then separated and the Diazo paper is developed by fuming in ammonium hydroxide. Also called, the blueline process.

Dry screen print- A process that uses a screen to apply dried glass powders and/ or enamel to sheets of glass. The sheets are kiln- fired individually and layered to build up an image within the glass itself. See, “screen print”.

Encaustic- A painting technique using colored wax. Is often applied to photographs to add color, layering and textures.

Engraving- A printmaking term used to describe an intaglio process by which the artist makes marks directly on the plate by hand, as with a needle, burin, rocker, or other tool.

Etching- An intaglio printmaking process that uses a strong acid to cut into unprotected areas of a metal plate. The plate is coated with ink and wiped off to leave ink in the cut areas of the plate. The plate is then passed through a printing press and the image transferred to paper.

Gum Bichromate- A contact printed photographic process using gum arabic mixed with pigment (usually watercolor pigments) and light- sensitive dichromates (usually ammonium or potassium). The emulsion is coated on the paper and exposed to negatives under UV light. Multiple colors can be built up using different pigments. Negatives are color balanced to accommodate these different colors.

Heliogravure- See “Photogravure” Instant film- Polaroid or other type of instant processed film. The chemicals used to develop the image are squeezed between two sheets of plastic as they are ejected from the camera to create an instant image. Some types can be peeled apart to produce a positive and a negative. They can be manipulated in a variety of ways.

Intaglio- A printmaking term used to describe processes that involve ink settling into a cut or etched area of a plate; in essence, the opposite of relief.

See “engraving”, “etching”, “mezzotint”.

Lith Print- A photographic process that uses a special developer with silver gelatin paper to create a wide range of different tones from pinkish to dark sepia.

Lithograph- A printmaking process that uses a block of stone as a plate. An image is applied to the stone using wax or oil- based crayons. After the image is applied, the stone is treated with an acid and gum arabic mixture. The stone is then coated in ink, however, the acid/ gum arabic mixture allows the parts of the stone not covered in wax to repel the oil- based ink, thus leaving the ink only on the original drawing.

Lumen print- A photogram- type print made by exposing photographic paper to sunlight for a long period of time. The process overexposes the silver salts so severely that they begin to take on strange colors. The paper is then fixed immediately, skipping the development. Sometimes the paper is scanned before fixing, since the fixing processes causes further color changes in the emulsion. See, “photogram”.

Mezzotint- An intaglio printmaking method using a “rocker”, a small metal tool with tiny teeth, which when rocked on the surface of the plate allows the building up of very rich textures and tones.

Monoprint- A printmaking term for a one- off print. Similar to a monotype; the distinction being that a monoprint is taken from a plate that includes some features, i.e. etched or engraved areas, while a monotype is taken from a plate that is completely featureless.

Monotype- A printmaking term for a one- off print. There are many different ways to create a monotype, but essentially an image is applied to a clean plate- usually copper or zinc, but possibly Plexiglass or even thin Mylar or acetate- and then transferred to another surface via a press or hand- pressed technique. The term could also be used to refer to any one- of- a kind image made with a printmaking technique.

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Mordançage- A photographic process that uses a chemical solution to bleach and degrade silver gelatin prints. The darker areas of the print can be lifted off of the substrate and manipulated to create veil- like structures or degraded areas in the emulsion.

Orotone- A photographic process using a glass plate coated with silver gelatin emulsion and exposed to create a positive image on the glass. This image is then coated on the back with a gold pigment solution or gold leaf to create a gold color in the highlights.

Photogram- A photographic print made by placing an object or objects directly on a light sensitive substrate, exposing directly to light, developing and fixing.

The result is a kind of “reversed shadow” of the object. The technique can be used with many different paper processes and in combination with negatives or without.

Photogravure- A photographic printing process that involves transferring a photographic image to a copper plate and printing the plate as you would an etched intaglio plate. A sheet of carbon paper is used to create a resist on the plate. The plate is then etched in a strong acid to cut an image into the plate. The plate is then inked and printed just like an etching. See “etching”.

Photopolymer gravure- A metal plate coated with a light- sensitive polymer. The UV light hardens the photosensitive polymer, leaving the unexposed areas soft. The soft areas are “etched” using plain water rather than a strong acid as in traditional photogravure. After etching, the plate is hardened in UV light and then inked and printed as an etching. Photopolymer plates can also be exposed to a negative image that is etched deeper, leaving a relief image that can be inked and printed like a woodblock. See “etching”, “woodblock” and “photogravure”.

Pinhole- A camera, usually hand-made, that uses a small pinhole in place of a lens. The image is recorded directly onto a sheet of light sensitive paper or film and processed as a negative. The negative can be contact printed to make a positive. The result is an image that is easily manipulated by changing the shape of the camera, the type of film or paper that is used, or through other interventions on the camera or substrates.

Platinum/ Palladium print- A contact printed photographic process using ferric oxalate and platinum or palladium in the emulsion. The emulsion is coated onto paper and exposed using a transparent negative to UV light. The exposed print is then developed to create a print with excellent tonal range with a rich black in the shadows.

Pochoir- In printmaking, basically a stencil. Multiple stencils are used to create layered images and precise details. Distinguished from a regular stencil in that it is used to create limited editions of the image.

Relief- A printmaking term used to describe processes that involve ink remaining on the raised surface of the print; in essence, the opposite of intaglio.

See. “woodblock”.

Salted Paper Print- The first photographic process used with negatives. Paper is first treated with a chloride solution- usually sodium or ammonium chloride- before being sensitized with a silver nitrate solution. The sensitized paper is then exposed using a transparent negative to UV light. The UV light reacts with the silver nitrate and salt to create a reddish to purplish-brown.

Screenprint- A photo/ printmaking process that uses light-sensitive emulsion to create an image on a screen. The sensitized screen is exposed with a positive image to UV light, which hardens the emulsion in specific areas. The unhardened emulsion is washed out, leaving those areas of the screen open. Ink can then be pushed through the open parts of the screen to print the image.

Serigraph- See “screen print” Silver gelatin print- A photographic print using a paper coated with silver nitrate suspended in gelatin as an emulsion. This type of paper is more sensitive to light than other hand- coated emulsions, giving the artist the ability to use an enlarger to create enlarged positive prints of negatives. The paper can also be used for contact printing. This type of paper is the most common commercially produced paper now. The paper can also be made by hand. Silver gelatin also is available in a semi- solid gel form, which can be melted down and coated onto a number of substrates. This solid silver gelatin is sometimes called Liquid Light, which is a popular brand, but there are other brands available.

Silvertone- Same as orotone, but using silver leaf instead of gold leaf. See, “orotone”.

SolarPlate- A brand of photopolymer gravure plates. See, “photopolymer gravure”.

Toner Transfer- A printmaking process that uses a solvent to transfer a toner-based image to another substrate.

Van Dyke Print- A photographic process using both silver nitrate and ferric ammonium citrate. The emulsion is applied by hand to paper and exposed using a transparent negative to UV light. The light reacts with the iron and silver to create a brown print.

Wet plate collodion- A photographic process that uses collodion as a substrate to accept silver nitrate, thus sensitizing the plate. The plate is placed into a camera, and the plate is exposed, developed and fixed while the silver/ collodion emulsion is still wet. There are three main types of wet plate collodion plates: - An ambrotype is a positive image made on glass. The image is backed using some type of black substance- ink, asphaltum, or black fabric, for example.

- A glass negative can be made and then contact printed using a wide variety of hand- coated photographic processes, traditionally, albumen.

- A tintype is a positive image made on a piece of metal. Traditionally tin was used, but modern practitioners usually use aluminum. Therefore, these plates are sometimes called aluminotypes or ferrotypes, referring to the aluminum substrate.

Other substances can be used as the substrate, such as Plexiglass (called a “Plexitype”) or stone (as in Amber Brockey’s agatypes on agate).

Woodblock- A relief printmaking process that involves cutting into a block of wood to create negative spaces of an image. Ink is coated onto the surface of the block, leaving the cut areas as the negative spaces. The ink- coated block is then put in contact with paper and the image is transferred using a hand press or printing press.

Ziatype- A contact printed photographic process that uses lithium palladium chloride (lithium chloropallidite) and ammonium ferric oxalate to create an emulsion. The sensitized paper is then exposed using a transparent negative to UV light. The print is then rinsed out to create an image ranging from brown and red- brown to purples and grays.

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Diana Bloomfield Among The Trees Tri-color gum bichromate dhbloomfield.com 60

Jeremy Tan Lynching Archival pigment print with screenprint www.jeremytan.net

Issue #10 (October 2015) Submissions Due Aug. 31st The HAND Magazine is always seeking entries for future issues There is NEVER A THEME The HAND Magazine is printed in color, however, black and white/ monochrome images are still accepted and will be reproduced accordingly.

The due date for entries for Issue #10 is August 31st, 2015 The HAND Magazine is a magazine for reproduction-based arts: We will consider any and all techniques that incorporate photographic and/ or printmaking techniques.

The cost for submission is $15 (more outside the US) and includes a copy of the issue, which you will receive whether or not your images are selected for publication Artists may submit up to 5 images per entry fee.

We are also looking for articles that describe a contemporary body of printed art. Please submit the article and up to 4 images. If the article is selected for publication, we may ask for more images to accompany the article.

Send all submission material to: thehandmagazine@icloud.com For the required submission file specifications, payment information and submission forms, visit the website: www.thehandmagazine.wordpress.com, and click on the “Current Call For Entries” page.

Back Cover: Jessica Somers, Phoenix #3, Archival pigment print and encaustic, jessicasomers.com

LLJ

L.L.T.T.H.- L.M.