EBSQ Spotlight on Hand-pulled Traditional Printmaking: Aimee Dingman

This month’s featured gallery is Hand-pulled Traditional Printmaking. No two prints are ever the same, even if pulled from the same plate. Each print, regardless of technique, is an entirely individual piece of art. It is this aspect combined with the variety of print-making techniques that have made printmaking a versatile and popular art process for thousands of years. Whether dry point, block print, collagraph or lithograph, creating hand pulled prints is often a labor intensive but unique and interesting way of creating art. Throughout August, we are going to take a few moments to catch up with some of our artists that work to create hand-pulled prints.

Aimee Dingman

Socially Acceptable Portrait of Karl Marx - Aimee Dingman
Socially Acceptable Portrait of Karl Marx - Aimee Dingman

Printmaking has always been a fascinatingly tedious process–one of careful drawing, carving, pulling, carving again, pulling again, examining proofs and deciding when enough is really enough–and yet the end result, the finished print, is a gloriously spontaneous, one-of-a-kind moment in time. I am personally attracted to printmaking for its process; carving is an almost completely irreversible process, making it a dangerous investment of time. One slip of the gouge and your entire day’s work may be lost. That is the dramatic nature of printmaking–and why I love it.
In my prints, I love exploring contrast. This is especially well-suited for printmaking. Whether it’s Marx’s beard or fruit on a sunny counter-top, printmaking allows me to break shapes into light and dark; to explore pattern and color without worrying about the gray areas– and that is a wonderful feeling. – Aimee Dingman

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2 thoughts on “EBSQ Spotlight on Hand-pulled Traditional Printmaking: Aimee Dingman

  1. Really impressive! But I wouldn’t expect anything else. Glad you are doing well….why Karl Marx?

  2. I love the printwork here. Which technique did you use for this image? I started an art course recently and printmaking is part of the coursework. I have to say it is rather challenging. So far, I love drypoint etching especially when combined with monotyping; and I find lino-cuts the most difficult. I started making collographs this week, and I love the results so far. It’s a new method of working for me, but it is fascinating to see different results every single time.

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