Bill Ritchie Artworks in the

Charles "Buzz" Pearson Collection

 

"Locus and the Sea Squares"

1982. Intaglio and relief, black, gray, purple, rose, and red-orange on 21 1/2 X 15 in. papers, 29 X 20 1/2 in. Japanese and Dutch Van Gelder Zonen buff. No. 105, variable edition 141. Signed lrt. Premiered Stone Press Gallery, Seattle.

Artist's Statement: "This print is from a series of 141 trial proofs and artist's proofs in "cycles" of approximately 15 each, of different color series. They are proofs which I made in the processes of cyanotype, woodcut, and intaglio techniques. The result is a series of monotypes. The images derive from three sources: The map is based on the Colorado River, a place known as the Crossing of the Fathers; the leaf shape I call locus--the path of a moving point (drawn to establish data in a computer program). The Great Wave was drawn from the famous print by Hokusai."

 

"Cyanotype Poster - 1981 - Bozeman"

1981. Six-color offset lithograph. Tones of blue, overprinted with transparent gloss yellow process PMS inks on white Warren Patina pH Neutral paper. 40 X 24 3/4 in.

Artist's Statement: "Though this poster was printed by offset litho, the plates were made from hand drawn masters. To create the blended colors the artist worked with the platemaker and printer plus he mixed the inks. Three sources make the image: A map of the Colorado River, a leaf-like diagram the artist uses for computer animation and the famous woodblock print by Hokusai titled The Great Wave . . . Ritchie was influenced by cartography, computer technology and Japanese culture and also names of his family and studio mates."

 

 

"Locus and Sea Squares with Tree"

Cyanotype & woodblock print. Blue, black. Image 21 1/2 X 15 in on 22 3/4 X 16 1/4 on Japanese paper. No 54 in the 154-impression series. Signed "Bozeman" and artists signature on lower right.

Artist's Statement: "I recalled the trees that got me started on my pathway (my locus) in the 'sixties' when I created this print. It was almost by chance that the running fluid of the cyanotype solution (and my rocking motion) yielded a tree image. Also, there are trees like this around Bozeman, Montana, where I made it during a teaching/working visit I was making."

 

"Kite Study I"

2003. Painting, sumi and black marker. Black, gray. Image 19 in. X 13 1/2 in. on 24 X 18 in. collaged Thailand mulberry paper on canvas. Stamped with the artist's seal and signed in pencil, lower right. Digital print on verso.

Artist's Statement: "After I had drawn and printed the kite designs I wanted to begin practice painting in a loosely brushed manner with black sumi ink. I layered several Asian papers and marked out the six symbols for my kite in marker, and then followed over with a brush loaded with sumi ink. The symbols are mountains, lake, wind, clouds, a flower and the "spiral of time" from my Y2K journal sketchbook."

"Line Block: C-Squares off the Coast of Washington"

1980. Woodblock, hand-carved. Approximately 11 X 17 in. One of seven blocks used to print the lower section of the print, "Locus and the Sea Squares." This is the key block (line block) printed in black. The design is based on the Hokusai print popularly known as The Great Wave. In his haste to start, the artist used maple stock from the his lithograph press scraper bars.

Artist's Statement: "I was so eager to start cutting the line block after I'd redesigned Hokusai's print to fit my locale and my C-square images, I decided to use maple wood stock I had on hand. I laminated the pieces together and joined them on the ends to reduce warping. I took me about 50 hours to carve. I love woodcarving, and the wood grain. I even carved decorative features in between the lines, though they do not print so they're invisible."

 

"Etched Plate: Locus and Sea Squares"

1980. 16 gauge copper, etched and then painted with red and black lacquer. 21 1/2 in X 15 in. This is the only metal printing plate used in producing "Locus and the Sea Squares."

Artist's Statement: "The plate for Locus and the Sea Squares took two years to make, counting from the first cyanotypes I made to settle on the composition, then the creation of the photo positives for the numbers and letters and finally to the laborious etching. I added the image of the woodblock part in the bottom as an afterthought, even though it would not appear in the print. Also, I painted the plate with red and black lacquer, knowing it would rub away with constant printing and make a beautiful surface just for me to enjoy while printing."

 

 

You can see variations on some of these prints in the following patrons' collections:

Marnie Briggs / Paul Matsumura / David Lotz / David Prentice / David Bethlahmy

You can get this 24:40 minute "live" video of the process of Bill printing this print. Pricing is available from www.printmakingworld.com/printmakingvideos.html, and the printed transcript can now be downloaded free by selecting: Transcript


See the Patron's List for more peoples' collections - click here

Email: ritchie@emeralda.com