Millie Whipplesmith Plank

woodcut prints

Why woodcuts? It is time consuming, difficult to correct mistakes, and unforgiving. The answer is that the end result is often more evocative, and powerful than when I work in a medium in which I have more control. The message is clarified, the colors truer, and the marks made by cutting into the wood’s surface more decisive.

My process involves making numerous sketches to simplify shapes and strengthen the composition. Finally an image is transferred to a Shina plywood plate, and I carve away areas that I do not want to have printed in a particular color. Oil based ink color is rolled evenly onto the wood’s surface with a brayer, paper placed on top, and the whole “sandwich” is then hand cranked through an etching press. This carving, inking, and pressing is repeated for each separate ink color. The imperfections caused by manually applying the ink for each color layer, make each print unique while giving individual character and a sense of the artist’s hand. In these days of easily obtained, mass-produced perfect images, I find that especially precious.

Currently my work is in the permanent collections of the Leigh Yawkey Museum in Wisconsin and the Maryhill Museum of Art in Washington. I have created prints for numerous land conservancy groups including the Mono lake Committee and Point Blue Conservation Sciences. A signature member of the Society of Animal Artists and Artists for Conservation, I have also served as artist in residence at Glacier National Park and Lassen Volcanic National Park.