ISSUE TWO

A warm welcome to the second issue of the journal

First of all, a sincere wish that this note finds you all safe and well, and that you remain connected to families and friends.

Pandemic-related issues have affected all of our lives since February, and Covid 19 has precipitated a rush of new experiences and emotions: anxiety for the present and the future, yet appreciation for small moments of joy. Our International print community has had to postpone eagerly anticipated gatherings: such as SGCI in Puerto Rico, the IMPACT Printmaking Conference in Hong Kong and the International Mokuhanga Conference in Nara. They will go ahead in the next year or two, and will be all the sweeter for restoring our sense of community and exchange.

Moreover, many printmakers have adapted rapidly to video conferencing and, for better or worse, the joys of online teaching. Having direct access to artists and speakers has been a powerful experience, despite the glitchy beaming of proxy faces and voices from each other’s homes. Now we can attend meetings in different time zones in pajama-clad comfort, if we wish. We can shun three-hour commutes, and steal extra time for sleeping. I’ve enjoyed my virtual travels to Indiana, Alabama, Liège and Leeds over the past few months, and can’t wait to visit for real in the future.

The research and articles in this issue happened because of the hard work of authors and reviewers alike. They touch on a wide range of printmaking techniques: from lockdown-friendly low-fi approaches, through observations of how nature has created reflective strategies for irridescence, all the way to advanced research on how printmaking can be used to create incredibly beautiful photoluminescent glass.

In this issue we are lucky to read about research which illuminates printmaking history in new ways: how soft-ground transfer papers might have been used and mis-categorized; and how the introduction of letterpress to New Zealand played a role in preserving Māori language.

Last, but not least, we have some writing which gives us a privileged insight into artists’ working practices: in the form of self-reflection, through detailed description of portraiture, and through two artists having warm conversation.

It is increasingly clear to me how essential the arts are to a sense of wonder in the world. For those who would like to connect with us at the Centre for Fine Print Research, please have a look at the website, where we have archives of talks and presentations, and perhaps consider joining one of our conferences, such as the Touch Symposium which will be running on 9–10 December. Or send me an email at wuon-gean.ho@uwe.ac.uk

It would be lovely to hear from you! I hope you remain healthy, and that we meet soon.

Wuon-Gean Ho, Editor.
London 26 November 2020

INDEX ISSUE TWO

Alan Te Morenga Litchfield and Karol Wilczynska
Lighting the way: The establishment of the first printed works in Te Reo Māori

Ana Rocha, Graciela Machado, Teresa Almeida, César A. T. Laia and Andreia Ruivo
Light-Emitting Prints on Glass

Anne Heyvaert and Sylvie Karier
From lines to dots and beyond

Damien Leech
Bioinspiration In Printmaking

David Lopes and Graciela Machado
The Collateral Transfers of Soft-Ground Etching

Edward Turpie
Gestural drawing for serigraphy

Michelle Keegan
I can still hear you

Shefali Wardell
Spaghetti Intaglio

Reviewers Issue Two

Angie Butler
Bess Frimodig
Camilla Murgia
Carinna Parraman
Clare Humphries
Deborah Cornell
Endi Poskovic
Justin Diggle
Laura Morgan
Monika Lukowska
Niamh Fahy
Paul Coldwell
Paul Uhlmann
Ruth Pelzer-Montada
Sean Caulfield
Soraya Vasconcelos
Tracy Templeton
Wuon-Gean Ho

Click here to go to Issue Two