Virtual Open Studios Fall 2022 - ART 163A Lithography I | art.ucsc.edu

Virtual Open Studios Fall 2022 - ART 163A Lithography I

Instructor - Ann Altstatt

Beatriz Juárez

“Where Our Braid Comes From”

Lithograph on Naturally Dyed Paper

A piece relating to a womb space, the natural world, and the magic in story telling.

“Contigo”

Lithograph on BFK Rives

An exploration that is connected to femininity/girlhood and domestication. A celebration of what is wild.

“We are there / here””

Lithograph on BFK Rives

Print informed by fragments of a poem, a line to remember: “not conquered but occupied”.

Brennan Elliott

“Give Back”

Lithographic Print

“Otter”

Lithographic Print

“Pelican”

Lithographic Print

“Bigger Fish”

Lithographic Print

Delaney Stewart

banana slug

lithographic print - litho crayon

a homage to my time spent being a banana slug.

sama

lithographic print - litho crayon, rubbing crayon, tuche

Inspired by Alphonse Mucha’s La Samaritaine, sama explores the organic lines, intricate patterns, and embrace of the natural realm created during the Art Noveau movement. At the inception of industrialism and urbanism within Western society, sama is a piece reimagined to highlight the core aesthetic principles of art nouveau and the relation between nature, dominance, and the feminine divine. The title of this piece comes from shortening the piece's original title, becoming a Japanese honorific, sama, meaning master.

one leg quail

lithographic print - razor blade deletion

one leg quail stands to illuminate the precarity of California’s ecological environment and recognizes its beauty, uniqueness, and singularity.

reaching out

lithographic print - litho crayon, tuche, razor blade deletion

reaching out represents community, where within a foilage landscape of ginkgo biloba berries and other autumnal plants, each relies on one another to grow, prosper, and flourish.

Elizabeth Glimme

“Whale Shark”

Lithograph

Gummed out whale shark with gum reticulations and deletion

“Five Years”

Lithograph

Crayon-drawn of a bouquet with sunflowers, white clover, rosemary, and forget-me-not.

“Dart Frogs Blue-Yellow”

Lithograph

Three gummed out dart frogs with a blue-yellow gradient.

“Dart Frogs Red-Yellow”

Lithograph

Three gummed out dart frogs with a red-yellow gradient

Ella Newton

To Read Their Book

Lithograph; litho crayon

This print is meant to honor the lineage and life of my grandparents. I used texture and linework and depicted them in a more tactile and human way.

Planetary Alchemy

Lithograph, litho crayon and tusche

This was phase two of my states project. My whole states project was very intuitive and I changed things as I went. Because of this it became more about the process rather than the resulting images.

[Re]Genesis

Lithograph; litho crayon

Phase three of my states project.

Melancholic Mermaid

Lithograph; litho crayon

First lithography print exploring with crayon. Of a mermaid in a box taken out of her natural environment, the sea.

Ellory Erecius

Reclamation District 1000

States i, ii, & iii - three editions of five prints, one each with chine collé

Stone lithograph on mulberry on Rives BFK, 11”x13”

For this series, I worked from photographs from the Library of Congress’s record of the agricultural development of the Sacramento Valley. I was born in the Valley and grew up around scenes such as these, albeit in a heavily modified post-floodplain landscape. These three prints were pulled from the same stone to reflect the agricultural “reclamation” of the wetlands by settlers.

I became interested in the Central Valley reclamation districts after reading Joan Didion’s 2003 essay collection Where I Was From, which covers the earlier “high-water” days of California’s capitol. The three-way material connection between the formation of lithographic limestone, the Sacramento floodplains, and the sedimentary tusche washes stood out to me. The intricate, reticulated washes created by the tusche are slowly obscured over the three states of the print as I move, remove, and alter the landscape, following the historical modification/destruction of the wetlands.

The Thought

Edition of eight prints, four on cream and four on white

Stone lithograph on Rives BFK

This print shows a city alleyway and a cast of its solitary inhabitants.Though they do not acknowledge each other directly, all of the figures in the print are linked by thought bubbles to a central and abstracted mass. I began drawing on the stone with just a rough idea of the composition and added in the details on the fly, reflecting on our inherent interconnectedness and all the little miracles and fantasies that underpin our earthly existence. How strange it is to be here at all!

Fionna Chuang

“Another Hour: Dawn”

Lithograph on BFK Rives

This is State 2 of the Another Hour series, a multi-state project with chine collé technique. Dawn showcases a moment in time, in an imaginary world. The egg in the sky slowly wakes up while a corgi, disguised as a hill, rises behind the egg toast. A combination of lithographic crayons, tusche, and deletion techniques was used.

“Another Hour: Day”

Lithograph on BFK Rives

This is State 3 of the Another Hour series, a multi-state project with chine collé technique. Day showcases another hour in an imaginary world. Following the events in Dawn, the egg in the sky is awake while the corgi fully rises, attempting to eat the egg toast! Egg toast remains unfazed. Subtractive and additive techniques were used to alter the environment and character details.

“I miss you"

Lithograph on BFK Rives

This lithography print is a Manière Noire, using a combination of wet and dry deletion techniques (sandpaper and razor blade) to create an image of a sad cherry.

“Is This All Me?”

Lithograph on BFK Rives

This lithography print illustrates a new adventure into imaginary worlds that centers around self, identity, comfort, and reflection. Lithographic crayons, tusche, and the chine collé technique were used to create the image.

Fox Wong

“Untitled”

Lithograph

“Self Portrait Deterioration”

Lithograph

State 1

“Self Portrait Deterioration”

Lithograph

State 2

“Self Portrait Deterioration”

Lithograph

State 3

Hannah Rouland

"Moon"

Black lithography print pressed on BFK with white chine colle.

"Relief"

Color-roll lithography print pressed on stonehenge.

"Deer 1"

Black lithography print pressed on stonehenge and BFK with chine colle.

This drawing was inspired by a beautiful baby deer I encountered that I presume was hit by a car. Disturbed, I created a states series (only two of three states are shown) depicting the decomposition of the deer into its environment, becoming flowers in its final state.

"Deer 2"

Black lithography print pressed on BFK and stonehenge with chine colle.

This is the second state of the series. Follow @hannah.tor.art on Instagram to view the final state.

Irwin Pineda

“To Be Loved And To Be In Love, State II”

Lithograph, Tusche Water Wash, Rubbing Crayon, Autographic Ink on Rives BFK

State two of the “To Love And To Be In Love” series depicts a young woman reaching for her love, a personified star. The star reaches back, but the pair are unable to touch. This is meant to represent the feeling of longing for a romantic relationship and yearning for a love that you just cannot seem to reach.

“Where’s My Mind?”

Lithograph, Litho Crayon on Rives BFK

Meant to represent my struggle with DPDR (Depersonalization Derealization Disorder) this piece is a depiction of what happens in my head when I have a depersonalization episode. It is meant to invoke feelings of fear, discomfort, and uneasiness.

Kaia Myall

Untitled

Lithograph; tusche and crayon

This print is meant to represent the strength and protection that sparrows and gladiolus flowers symbolize.

Nancy’s Peonies

Lithograph; tusche and crayon

This print is a memorial piece meant to portray happiness and love in which peonies and hummingbirds represent.

Untitled

Lithograph; tusche and crayon

This print is meant to explore the unique form of the casa blanca lily and portray purity.

Untitled

Lithograph; tusche and crayon

This lithograph is intended to convey the longhorn skull’s eternal protection of nature with the intertwined relationship between the dead and living elements.

Katie Lyne Kravitz

As I’ve explored a variety of printmaking forms, diving into an old practice like lithography has been an incredible endeavor, challenging me to work with materials I would otherwise look over. In this collection of pieces I embrace the spotty texture of lithographic crayons, centering my focus primarily on the materials at hand and secondarily the subject matter depicted. The tactile process of lithography begs the touch of the materials to bend to its surface. My focus was continuously drawn to exploring the sensitive delicacy of the medium itself, examining the textured interactions colliding on the stone surface that gently pile onto the smooth plane.

“Pilate Peeling”

Lithographic Print

This print derives from the scene in “Song of Solomon” by Toni Morrison, where the character Pilate is introduced to the reader. There is a beautiful description of her peeling clementine fruit on her front porch. This image remained grafted to my memory, and felt well suited in this harsh contrast depiction.

“Bird Burst i”

Lithographic Print with Chine Colle

The first of this states series project depicts two long-necked birds rising from the ground like plant stocks. The sun-like figure centered in the large frame casts its light over the scene, illuminating the fragile naturalistic lines.

“Bird Burst ii”

Lithographic Print with Chine Colle

The second image of this series incorporates new materials to darken the scene and define harsher lines. As the sun begins to set in the center frame, a moon form begins to appear, altering all the other aspects of the image and their shape in the “light” casted by the central illuminating force.

“Bird Burst iii”
Lithographic Print with Chine Colle

The third and final image of this series involves deletion techniques the counteract the added darkness to the image. The delicacy of the razor deletion on the dark surfaces, draws out a gentle visual that suggests the dimmer light of the fully risen moon. The birds retreat into the surface as skeletal forms, and pieces of the image art abstracted into more simple shapes and lines that reflect deterioration and complexity of texture.

Leola Sanchez

untitled

Lithograph,

This lithographic print is a sole lithographic crayon image that creates an environment that is creepy and surreal.

Reanimation

Lithograph,

This print is the last state of my multi-state print process. This crow concept is a continuation of my first piece. I will be posting all the states of this projects on instagram (@lenz.24)

Star Man

Lithograph,

This print is a maniere noir image with lines made with marks using wet and dry deletion. I wanted to create a chaotic scene that is warped using a fish-eye perspective.

Who is the real prey?

Lithograph

Here is my final piece that is 20 by 20 inches and takes most inspiration from a dream I had. This lithographic print uses a combination of the maniere noir technique with dry deletion, tusche, and lithographic crayon.

Mary Anderson

Immolation

Lithograph; tusche and wash

The symbolism of moth-to-a-flame is used to convey the repercussions of too much of a good thing.

Betrayal

Lithograph; tusche

A wounded knight is intended to represent the pain of disloyalty.

Lockjaw

Lithograph; crayon

A fox punctured by an ink cap mushroom; the silent cycles of life and death.

Abundance

Lithograph; maniere-noire with razor blade

A study on oyster mushrooms.

Nikas Mermer

Plant This Print

Lithograph

I wanted to create a print that told people directly to take the paper attached and plant it in the ground. The plant on the paper corresponds to the seed in the paper

Do You Know What You're Eating? 1

Lithograph

The first state of this project was simply a banana with chine collet and is the beginning of a series of a banana peeling to reveal what may comes next

Do You Know Where You Live?

Lithograph

This Print is a representation of how it feels to grow up in California, where there is a great amount of palm trees which are not native to California, as well as the amount of Racism that happens, represented with the hanging person.

Do You Know What You're Eating? 3

Lithograph

This is the final part of my Do You Know What You're Eating? Series in which it reveals a skeleton. This was supposed to be both goof in the sense of an odd figure coming from the banana as well as a commentary on how bananas are farmed through the use of what is essentially slave labor

Reece Mejia

“The Lovers”

Lithography print pressed ink on BFK and kitakata paper. Chine Collé created with kitakata.

This piece is meant to take the heteronormativity out of the iconic “Lovers” tarot card and recreate it in a sapphic fashion to normalize same sex couples portrayed in media and art.

Ryanna Camarena

“Wanna See How I Died?”

Black ink on tan BFK

A ghostly figure shows you their headstone. This print was done using the Manière Noire technique, laying down a shape of full ink on stone and deleting to reveal the image.