the printmaker


ex pbu
em hm
the printmaker
the monoprint process
monoprint print gallery

charlotte riley-webb

the artist speaks about her experience as a printmaker

I began studying the art of hand pulling silk-screen prints at the Gilbert House Art Center in 1990 studying with accomplished screen artist, Bill Prankard. There we used oil-based inks. It was at the Atlanta College of Art that I advanced the process with water-based inks and photo-screening. An art form which produce small numbers of multiples, and because each image would be different, hand-pulled prints were considered close to an original art process. Thus far I have created a total of twelve prints, one with an edition of 100, the others ranging from editions of 25-45 layering as many as twelve colors. I gained an appreciation for woodcut prints after studying with the master of woodcut printing, the late Michael Ellison. He used the subtractive process. I found the process to be extremely labor intensive. Similar to the woodcut process, I worked with linoleum printing, but only advanced to printing one color at a time. Before studying mono printing at Tougaloo Art Colony, in Mississippi, in the past carving illustration board, sealing, registering and layering colors was the extent of my mono printing knowledge. The summer of 2003 found me in the studio studying with the most incredible teacher, sculptor and print maker whose reputation had far preceded him, Mr. John T. Scott of New Orleans. He taught the handmade wax paper process, which he had invented twenty years, prior. After spending what can be half a day of prep time, and as much as an hour or two "building the print" the yield is only one print, one "ghost" and maybe a "flip"! I found the process less technical than silk screen printing, more creative and totally fascinating and have continued its use.








charlotte riley-webb