Intersecting Methods 2018 Profile: Sarah Fukami

This is the third post in a series to introduce the participating printmakers and their collaborators for the 2018 edition of the Intersecting Methods Portfolio. Every two weeks, into mid-December, a new profile of a collaborative pair will be posted. This segment profiles Sarah Fukami, artist,  and her collaborator, Christine Fukami. 



Sarah Fukami

Sarah Fukami was born and works in Denver, Colorado. She received her BFA with distinction from the University of Denver, and is currently finishing a two-year residency at RedLine. Specializing in mixed media printmaking, her work ranges from traditional techniques to straddling the line between the two- and three-dimensional utilizing materials such as Plexiglas. Her work focuses on the development and evolution of identity, particularly in relation to the immigrant experience. Her Japanese family was interned during World War II, and her art is rooted in social justice. More recently, she has become interested in the dissemination of history by searching through national archives and investigating unknown individuals from records and photographs.


Here are three examples of Sarah’s printmaking work.



Christine Fukami

Christine Fukami was born and raised in Denver, CO.  She attended the University of Denver, where she received her ACS BS with distinction in Chemistry.  She also graduated with an MS in Chemistry from Colorado State University, where she majored in Analytical Chemistry.  The majority of her research has revolved around identifying contaminants and studying their behavior in the environment with the aim of creating awareness of what is being introduced and to begin the arduous task of reducing their presence.  More recently, Christine has become interested in using microfluidic platforms for in vivo studies of cancer metastasis in order to improve understanding, and therefore treatment options for those afflicted by the disease.

Look for the next profile in two weeks. In the meantime, R&D editions will have its regular bi-weekly updates on studio work in between the profiles.

Intersecting Methods 2018 Profile: Megan Parker

This is the second post in a series to introduce the participating printmakers and their collaborators for the 2018 edition of the Intersecting Methods Portfolio. Every two weeks, into mid-December, a new profile of a collaborative pair will be posted. This segment profiles Megan Parker, artist,  and her collaborator, Dr. Justin Havird, postdoctoral research at Colorado State University. 



Megan Parker

Megan grew up pursuing art in the mountains of North Carolina. After studying at Yeditepe Üniversitesi in Turkey and the University of North Carolina at Greensboro, she earned her BFA with a concentration in design in 2008. She currently lives in Fort Collins and is a member of the printmaking co-op Mad Deer Press. Megan enjoys making narrative prints inspired by Appalachian folklore, Medieval art, and good ol’ fashioned animal skulls.




Here are three examples of Megan’s printmaking work.




Dr Justin Havird

I am a broadly trained evolutionary biologist interested in how the mitochondrial and nuclear genomes work together to maintain cellular function in eukaryotes. I am currently a post-doc working with Daniel Sloan at Colorado State University investigating evolutionary genomics and cytonuclear interactions. This work has included examining patterns of coevolution between mitochondrial and nuclear genomes and investigating how mitochondrial mutation rate influences these processes. The plant genus Silene has been a model system for much of this work, as mitochondrial mutation rates vary drastically among closely related Silene species.

I completed my PhD at Auburn University, working with Scott Santos in the Molette Biology Laboratory for Environmental and Climate Change Studies. For my PhD I utilized animals from anchialine habitats across the Pacific to address broad topics such as the evolution of molecular mechanisms of osmoregulation.

Molecular techniques including next-generation sequencing and development of bioinformatic pipelines are used in most of my research projects. 

Look for the next profile in two weeks. In the meantime, R&D editions will have its regular bi-weekly updates on studio work in between the profiles.

Intersecting Methods 2018 Profile: Taryn McMahon

This is the first post in a series to introduce the participating printmakers and their collaborators for the 2018 edition of the Intersecting Methods Portfolio. Every two weeks, into mid-December, a new profile of a collaborative pair will be posted. This segment profiles Taryn McMahon, Assistant Professor in the School of Art at Kent State University, and her collaborator, Kathryn Strand, Assistant Professor in the College of Architecture and Environmental Design at Kent State University. 


Taryn McMahon

Taryn McMahon’s work imagines a future ecology in which the natural and artificial become intertwined and conflated. She has received numerous awards for her work including the Southern Graphics Council International Graduate Fellowship and fully funded residencies at Anderson Ranch, Snowmass Village, CO; Anchor Graphics, Chicago, IL; Women’s Studio Workshop, Rosendale, NY; and 55 Limited, Berlin, Germany. She has had solo exhibitions at The Print Center, Philadelphia, PA; Lexington Art League, Lexington, KY; and William Busta Gallery, Cleveland, OH. Group exhibitions include the Museum of Contemporary Art, Jacksonville, FL; Dishman Art Museum, Beaumont, TX; McDonough Museum of Art, Youngstown, OH; and Islensk Grafik, Reykjavik, Iceland, among many others. Her prints are in the collections of Art in Embassies Program, Collection of the US Embassy, Reykjavik, Iceland; Anchor Graphics, Chicago, IL; University of Iowa, Iowa City, IA; and Women’s Studio Workshop, Rosendale, NY. She received her MFA from the University of Iowa and is an Assistant Professor at Kent State University.

Here are three examples of Taryn’s printmaking work.


Kathryn Strand

Kathryn Strand’s research-based practice with husband Jason Turnidge is focused on the choreography of architectural environments through fabrication of material and virtual situation. Interests include the examination of traditional to contemporary methods of architectural representation as generative tools that mediate between individual idea and constructed environment. The work has been recognized with numerous local to international awards and related research has been presented and published both nationally and internationally.

Additional professional experience includes work as a design associate at Thom Stauffer Architect[s] in Kent, OH where she was a design team member on numerous award-winning projects, including the Ceruti Residence, which received a House of the Year Award in 2006 from Architecture Magazine.

Strand received a Bachelor of Science degree in Fine Arts and Art History from the University of Wisconsin Madison. In 2002, she received a Master of Architecture degree from University of Pennsylvania where she spent a semester studying at the Architecture Association in London and was a participant in the International Laboratory of Architecture and Environmental Design held in Venice, Italy.

Strand is an Associate Professor in the College of Architecture and Environmental Design at Kent State University where she coordinates the First Year Foundation Sequence and conducts undergraduate design studios, architectural history, and a theory seminar on media and representation.

Look for the next profile in two weeks. In the meantime, R&D editions will have its regular bi-weekly updates on studio work in between the profiles.

Intersecting Methods 2018 Participants

Today I can announce the participants chosen for the 2018 installment of the Intersecting Methods portfolio. I have selected a great group of printmakers for the next set of editions. Here is the list of the final selections.

Sarah Fukami

David Gerhard

Beth Grabowski

Steve Huey

Sarah Marshall

Taryn McMahon

Howard Paine

Megan Parker

Marzi Rahmani

Megan Singelton

Mariana Smith

Jackson Taylor


I am really excited for this group of participants and look forward to posting profiles of each participant and their collaborator in a new series over the summer and into the fall. Starting on July 14, every two weeks (in between my regular posts) I will be putting together a profile of each duo with biographies and images ending mid-December.


One Month Out!

The deadline for the Intersecting Methods 2018 portfolio is May 1st!

We are just under one month, so make sure to get your applications in.

Here is the link to the flyer once more:

Intersecting Methods 2018 Call!

With the success of the two previous iterations of the Intersecting Methods portfolio, R&D editions is putting out the call for new participants to find collaborators and make editions that will be exhibited and build an archive of prints where artists and scientists collaborate.

The 2018 edition will work in the same format as the first two iterations. 12 printmakers will be selected from an applicant pool. Those 12 will then each find a collaborator to work with, they will collaborate and build ideas together with an end result of 26 prints in an edition.

R&D editions will gather the editions, collate, place in portfolios and then send back two portfolios to each collaborative duo, so that each participant, not just the printmaker, will receive a copy of the works created.

Two of the portfolios will be held in R&D editions archives and build on the collection of art and science collaboration that R&D strives for. One of these portfolios will be used for exhibitions in to be determined locations. The previous portfolios have been shown at multiple locations, including at Frogmans’ Print Workshop, formerly at the University of South Dakota.

Here is a link to the official Intersecting Methods 2018 Submission Flyer with application and deadline information.

Email for any questions or to apply for participation.

Intaglio Toner Wash

So this is a new technique to me that I learned about from Carrie Lingscheit’s instagram feed. This technique utilizes the same idea as toner wash in lithography, but instead of the toner creating the marks that are etched and inked up, the toner is used as a resist for the ferric chloride in copper plate intaglio.

When I asked Carrie where she learned this technique or if she created it, she said she did not think she created it, but could remember starting to experiment with it in graduate school. As far as I know, she’s the originator because I’d never heard of it before and a few colleagues hadn’t either.

The basics of the process are that you create a mixture of toner, water and a few drops of liquid soap to break the water’s surface tension allowing the water and toner to mix. Once mixed, you paint it over the surface. Initially I allowed it to try dry on its own, not air movement manipulation.

Once the toner is dry, you have to heat it to attach it to the surface of the copper. Carrie did this with a lighter underneath while the copper sat on a baking rack. I used a heat gun about an inch or so above the surface as I moved it around. I could also see a good hot plate with a aluminum roasting tray over it building up enough heat to melt the toner.

But you have to be careful, my plate would get hot enough that I could not pick it up with my bare hands. I found the toner, when fully melted, gained a sheen, like melted plastic (because it is plastic).

With the toner melted, you can drop it for a single etch or use hardground to etch it like an aquatint.

Here is my initial attempt.

The result was awesome and I wanted to try more. So next I used the standard process that Carrie had described to create an 8″x10″ plate that I etched for 20 min.

Since then I have been doing a series of experiments on small sample plates to explore new ways to manipulate the toner wash. Below are a series of galleries showing each plate at each step.

Wet plates:

Dry plates:

Heat set plates:

Etched plates:


The results are pretty varied but each creates unique marks and gives me new ideas on how I can manipulate the toner further and create imagery of all different sorts.

As a printmaker, the dissemination of imagery and information is in my blood as most others. So I created a PDF instruction sheet that Carrie looked over. I have attached it here for anyone else to use to explore toner wash intaglio.

toner wash handout

If you find some interesting results, please email me with them. I’d love to see what others come up with using this process.

Back and Busy

Okay, I’m back and busy as ever. For those of you who didn’t hear from me personally or through social media, my wife have birth to our first child at the end of September. So that combined with a four class load and lots of projects has kept me busy and a little too overwhelmed to get on and post.

But now, its time to catch up and post some new developments in R&D projects and experiments.

This week I will be posting about some summer time experiments I did for my collaboration with Ryan Hackett. I would have posted these earlier, but I wanted to meet with Ryan and discuss the outcome before posting and by the time we met the semester was in full swing and my daughter was only a few weeks away.

So in June, I made a weekend trip to Durham, NC to experiment with Brian Gonzalez of the University of Sharjah, formerly of Supergraphic. Brian demonstrated, last March at the SGC International conference in Portland, the use of a new style of ink, thermochromic ink. This is in that changes color based on its temperature, which can be altered in a variety of ways.

Ryan’s initial idea was to explore the idea of creating a print that could alter based on the viewer/owners interaction with it and I thought this ink might be the perfect solution. So I contacted Brian and he offered to help me play around with it for a bit.

So over a two day period I drove to Durham and created some test prints using Brian’s thermochromic ink and other imagery. Here are some of the results.

Ryan’s interest was to see how the thermochromic ink would affect or alter our perception of a CMYK image printed over top of it. Our theory being that certain colors would disappear and cause a loss of visual information as the thermochromic ink started to match its color. We also tested a black that would disappear at a certain temperature to see how that would affect the image.

In conclusion, we found they it might be possible with a larger dot pattern with a more obvious alteration of the color backing, but at the detail level we were exploring it would not work. The main issue overall being that the thermochromic ink must be printed on a black surface to allow for the color shift to be recognizable. This caused an immediate loss of information that never resolved and came back with the shift of color.

So Ryan and I are keeping this ink and process in the back pocket as a tool we could use, but are now exploring other avenues for his edition.

Next post will expand on some personal experiments with a toner wash intaglio process. So keep any eye out for it.

Intersecting Methods Panel Participants

R&D editions received 12 applications for the Intersecting Methods panel for the 2017 SGCI conference, Terminus, in Atlanta, GA. Each application was exceptional, but I can only choose three for the panel.

I have selected the applications of Erik Waterkotte, Patricia Olynyk, and Rob Swainston with Alison Dell.

Erik’s focus will explore re-structuring printmaking’s dissemination of research and work created in the studio to have a more direct relationship with the Industry and scientific research. While, Patricia will present and investigate a selection of contemporary artists, focused in printmaking, who create work based on scientific concepts and expand the definition of printmaking in the processes. Lastly, Rob Swainston with Alison Dell, will present their use of the scientific method to experiment and expand on printmaking techniques.

Along with their presentations, I will present some of the unique collaborations that have come from the 2014 and 2016 Intersecting Methods portfolio exchanges and how this project has expanded the dialogue between science and printmaking.

I will post more about this panel at different points between now and next March. But for now, feel free to read the abstracts from the three accepted panel applications below.

Erik Waterkotte’s Abstract:

For my contribution to the Intersecting Methods panel I propose that the intersections of science and printmaking are already present within the methodology and pedagogy of Printmaking but we need to reposition how we produce and disseminate the research and work we create within the Studio Arts. By examining the application and purpose of new technologies (both lo-tech and hi-tech, from GIF animations to 3-D Printing) we can easily identify important connections to the technology and skill-set of Printmaking. And, by expanding the application of Printmaking’s skill-set we can connect the Fine Art, Printmaking studio to industry and the production needs of today and beyond.

I will examine the apprehensions in re-connecting Printmaking with Industry and show that the goals and production of the last half-century of Contemporary Art are evidence that Fine Art can and should utilize industrial methods. Using examples from my own teaching and research (including recent collaborative, class projects, co-taught courses, and research into commercial printmaking and fabrication) I will detail how reconnecting Printmaking to Industry is extremely timely and germane. The artistic pedagogy of Printmaking is incredible and, if explored and expanded upon, can offer new paradigms and solutions in Science and Industry.

Patricia Olynyk’s Abstract:

Science inspires and informs the arts, and the arts also inspire and inform science. A recent joint meeting of the National Science Foundation and the National Endowment for the Arts engaged influential thinkers who explored various types of inquiry that concerns the territories of both art and science.

Like scientific research, printmaking fully engages evolving technologies and frequently involves asking questions for which we do not have an answer. It shares overlapping concerns with the life sciences, biotechnology and nanotechnology, which in turn generates new collaborations between printmakers and members of the scientific community. Such partnerships can incite reasoned debate on controversial issues related to new advances in science and medicine and also expand the possibilities for understanding the impact of science and technology on the human condition and all living systems.

Printmaking, like scientific inquiry, is iterative, process based, and largely image oriented. Printmakers sometimes engage in the visualization of biomedical and scientific phenomena, employing imagery or constructing work derived from—or dialectically related to—such research tools or processes that engage electron microscopy, magnetic resonance imaging, digital tomosynthesis, and/or biomechatronics.

This presentation will include print media works by Hung Lu, Suzanne Anker, Brad Smith, Ellen K. Levy, and Patricia Olynyk (to name a few). I will discuss work inspired by notions of “reproduction,” “variation” and “complexity” (Trillium Press), work which mines medical archives to question scientific taxonomies (the Mütter Museum), and work that focuses on Gaston Bachelard’s assertion that: “bad science can produce good art.”

Rob Swainston’s Abstract:

The printed image is deeply rooted in technology and innovation – a historically negotiated assemblage between hand, device, and image. As such printmaking is ripe for connecting art and science – and particularly to apply the scientific method to systematically investigate new ways to intervene with traditional printmaking methods.

Alison Dell, Ph.D. (research scientist, professor, and second generation printmaker) and Rob Swainston (artist, professor, and master printer) – have used the scientific method to generate a series of printmaking “hacks” in which digital technologies and less-toxic processes synergize with the tools and equipment already available in most printshops.

One such project is affectionately termed “fake etching,” or “fetching.” The goal of this project was to investigate how print processes can be more compatible with digital platforms yet maintain the rich tonal range achievable through intaglio techniques. Carrying out numerous experiments over the course of two research residencies at the Frans Masereel Centrum, Alison and Rob developed new photo-collagraph processes using cues from lithography, silkscreen, and Photoshop. In keeping with the information sharing mandated by the scientific community – Dell and Swainston published two “how-to” videos detailing their methods and results. These are freely available online.

The fetching project is just one example of Alison and Rob employing scientific method in developing new print processes. During the panel the team will present the findings of both this and other science-driven print investigations developed in Rob’s NYC Printshop, Prints of Darkness.

Print Think 2016


Yesterday, I attended the Print Think 2016 Symposium at the Tyler School of Art at Temple University in Philadephia, PA. Hosted by the printmaking faculty; Hester Stinnet, Richard Hricko and Amze Emmons, it was a great day of print presentations, panels and demonstrations.

The Keynote speaker as Susan Tallman, Editor-in-Chief of Art in Print, who spoke about the relationship print has with connecting the local, but also spreading ideas further through the multiple by connecting the similarities of design and style of some mid-18th century American portraiture to the mezzotints of Sir Joshua Reynolds portraiture paintings in England. While also criticizing the idea of staying too local with artist CSAs and the small amount of stylistic change that has occurred in Norwegian until recently.

Tallman’s presentation was followed up by three short presentations and a panel discussion with artists and publishers; Jeffery Dell, Ryan Standfest of Rotland Press and Kristian Henson of The Office of Culture and Design. Each presenter discussed their own relationship with the local and cosmopolitan through trying to become engaged in either a local community or a community built around an idea, but then how that inital specific interest has spread through connections of interest, the internet, and exhibitions.

After lunch, the afternoon started with the “Demo Derby” in the Tyler printshop. A massive space divided up by incomplete walls for easy passage from one print area to the next. There were some small demos of chine colle, collograph, etc, and a vareity of local and regional print studios showing off their members works and promoting themselves for others to join.

The time at Tyler ended with a artist talk by Kate McQuillen who focused her talk about her latest installation, Night HouseNight House was part of the 2nd Terrain Biennial in 2015, organized by Terrain Exhibitions and Sabina Ott. For the project, Kate created a starry sky facade that would be attached to the house for a month. The facade’s specific connection with the night time created an interesting juxtaposition of interpretation depending on what time of day you experienced it and whether or not the occupants were home, i.e. lights on/off.

With the time at Tyler completed, the attendees were invited to make their away to The Print Center in the Rittenhouse Square area of Philadelphia. I declined because of incoming rain and wanting to get back home that day, a 2.5 hour drive without stops. But even without seeing the current print exhibitions, the day was a lot of fun and I look forward to attending again next year.