Sunday, January 22, 2012


38th Annual Membership Exhibition,

Albrecht-Kemper Museum of Art, 
2818 Frederick Avenue,
St. Joseph, Missouri

Eighty-seven member artists from 
~~ KANSAS ~~

Kansas City 

Lees' Summit
Mound City
Overland park
St. Joseph

In the category of printmaking,
there were thirteen entries.

Afternoon Shade by Karl Marxhausen
was awarded Second Place ribbon 
in the printmaking category. The five block color
linocut is framed in a white mat, with monogram
in the lower right corner.

The exhibit run January 21 to February 26, 2012.
For entire award listing, click HERE

Friday, January 20, 2012

rig made ready

A week after making the masa ready, I gave attention to my paper registration guides (right). Double click on images to make larger.

I planned for both the small and large reduction linocut blocks to have a 3 inch border. Could I fashion wood to make the rig units I needed?

With a yardstick and pencil, I went outside to gather materials from my wood shed, and a handsaw to cut with. My storage shed, once a studio, built by me, housed tools.

A narrow lath board would be glued to a 2 x 1 pine board to make the vertical side of the rig.   A single lath board would make the horizontal side.


After sawing, each of the eight inch lengths were made even with sandpaper. 

Before applying glue I scored the side with a piece of steel (left).

The vertical and horizontal units were glued separately.

After the wood glue dried I discovered the rig units were taller than the depth of the lino blocks.

By clenching each rig unit between my shoes I was able to saw units in half length  wise. Left, you can see the rig is lower than the thickness of the block. I scored the wood pieces, glued the two units together, and waited for them to dry. Then I gave the dried rig a coat of Polyacrylic. (So that any ink smudges could be wiped off, during the printing process.)

 Finished rig in my hand.

 I re-measured the vertical registration guides and found two of them to be off by half an inch. So I snapped them off the board, scored the board, and glued them the distance I wanted. Now the guides are even.


L-shaped rig set beside the registration guides.

An inked up lino block snug against the new rig.

Thursday, January 19, 2012

seed corn

Pioneer seed dealer John McKenzie and his wife Janise acquired the plein air canvas entitled "Morning Corn." The owner of Mack Inc is an avid Nebraska Corn Husker football fan. Double click on painting to see larger.

Tuesday, January 17, 2012

new tutoriel - kitchen litho - Émilie Aizier Brouard

my friend emily says: 

"Bonne année à tous et bonne chance en 2012 !"
"Happy New Year and good luck in 2012 !"
"¡ Feliz año nuevo y buena suerte en el 2012 !"

Watch her Nouveau / Nuevo / New tutoriel video, thirteen minutes (above)  Emily shares new tips and tricks, like a glass of coke, and using a brush to erase some spots.
Émilie Aizier Brouard
46, rue de la Dauvergne
09 54 70 82 67 / 06 66 12 27 15

Sunday, January 15, 2012

making masa ready


My paper order arrived from New York City. The masa came in standard sheets measuring 21 by 31 inches. (above) For my next project I require sizes 12 by 10 inches and 18 by 15 inches. Steel ruler in hand I measured each sheet, made pencil marks, and tore the sheets to the needed sizes. The uneven torn edge is important to that project. Click on 3 minute video.

Masa is a white paper, made by machine out of 100% sulphite. Sulphite is a chemical wood-pulp obtained by cutting wood into small pieces and cooking it with calcium bisulphate or sodium sulphite to remove natural resins and break down the cellulose fibers. While sulphite does have a short fiber, it increases bulk, softness, and absorbency, which are important qualities for a variety of techniques.  Masa has a neutral pH. It is smooth on one side with a light texture on the other. It weighs 77 gsm. To give you an idea of its weight, tracing paper is 30 gsm, a standard bond eucalyptus paper used for typing is 75 gsm, and a heavy etching paper such as Rives or Arches is typically 250 gsm. When hand printing is used, lighter weight sheets are easier to burnish and transfer more ink from the plate or block. (courtesy of New York Central Fine Art Papers, 62 Third Avenue, New York, New York,, accessed January 19, 2012)

Next, comes adjustments to my registration guides.

Friday, January 13, 2012

free spirit

In the new year 2012, I have been enjoying music by the tUnE-yArDs.

Watch video of You Yes You, four minutes (above).
More works by Merill Garbus, click HERE
More about her, click HERE
Watching her sing on stage reminds me of my second year in college.

Being an art student I put together and pulled off a few "free spirited events."
The year was 1975. I was enrolled in the Centennial Educational Program, while at the University of Nebraska, in Lincoln.

One Saturday morning I staged an impromtu happening in the Nebraska Student Union lounge. My roommate Bob Winkler (above) and I stacked blocks of scrap wood and invited others to do the same.
This was what an art student with lots of zeal did when he was out on his own. The memories do not stop there.

Our dorm room on the second floor of Love Hall became an art project itself. From the paper strips that hung from the ceiling (right) to the flattened refrigerator cardboard boxes
boxes I dragged from off-campus and lined our walls (left). To draw and build on, of course. Obviously influenced from the "basement wall" I grew up with in my parents' house. (See a clip of their wall, click HERE.)
Friday nights when students were out visiting their friends on our floor, Bob and I talked fellow students to enter our room to see the hung ceiling and watch their response to it. That same year 1975, I had found a way to pull the paint layer out from our room wall. Very carefully I stuffed portions with small piece of tissue and resealed it (left and below).

Here is another memory about Centennial. That same year I organized, scripted and filmed a 40 minute super-8 movie as an independent study project at Centennial. The story followed a traveling salesman as he went from room-to-room with his suitcase. Each room presented a different odd scene. He met a scuba diver, a troupe of human flowers, a foosball champion, and many others. Fellow students in Centennial were asked for their ideas and many acted in the film. All the scenes were shot within Centennial. My advisor gave me full credit for it.

Centennial was in the (north) Love Hall end of the John G. Neihardt Residential Center. I remember setting up a number of "peoples concerts" to showcase the musical talent from our dorm and the Neihardt complex. I borrowed sound equipment from the Nebraska Union. There was a concert held in the Neihardt snackbar in the basement of our dorm, and one in the lounge of Raymond Hall, because it had a grand piano there. There was a concert also in the South Crib Room of the Nebraska Student Union. Here is a list of some of that talent. (I have added current available links where I could find them.) Jon Swift on guitar, Tim Roper 1  and 2 on violin, Jeff Binder 1   and 2,  Ray Walden on piano, Jim Williams on piano, Rick Nelson on guitar, Tim Booth on piano, Vicky Thomson on piano, Dave Mosley on piano, Steve Petersen on guitar, Pat Collins on guitar, Brian Nyquist vocals, Mark Willy on piano, Bob Popek, Jeff Taebel 1  and 2  on guitar and 3, Paul Marxhausen 1  and 2  on guitar, myself on piano, and others.

One more memory.
(below) That's me kneeling on pages torn from

a discarded phone book. (In photo, Jon Swift is seated second from left, and Tim Roper seated just above my kneeling figure) In the darkened space Dan Swinarski (above, left) cast light on the dancing strips of paper for all to see.
With a free spirit and in total silence, the community watched and enjoyed the spontaneity of the event.