Moving is hard – much more so when you have literal TONS of equipment to move. There were frayed nerves, broken hearts, along with some scrapes and bruises, but I am fully moved into my new home and studio at:
6251 Elbrook Avenue
Cincinnati, OH 45237

I’m ready to get back to my art which has been neglected for the past 4-5 months. I didn’t even send out holiday cards last year – a 15-year tradition.

I’ve got lots lined up this year and I’m behind in sharing all of it!

WORKSHOPS

June 29 – July 4: A week-long Wood Engraving workshop at Frogman’s Print Workshops in Iowa City at the University of Iowa.
August 16 – 21: A week-long Wood Engraving workshop at John C. Campbell Folk School in NC’s Appalachian mountains. Hone or learn wood engraving in a peaceful and supportive environment.

ART FAIRS

April 9-12 Brooklyn Fine Art Print Fair at Power House Arts through the Society of American Graphic Artists (SAGA) Booth – See Tree Swallow Sunrise in SAGA’s booth along with loads of other amazing prints!
March 11 (Saturday), 10am – 5pm – KY Crafted Market at the Alltech Arena in the Kentucky Horse Park, Lexington, KY. Visit Starpointe Studio’s booth #311 and shop the best visual arts and crafts of the Commonwealth.
March 12 (Sunday), 11am – 4pm – KY Crafted Market at the Alltech Arena in the Kentucky Horse Park, Lexington, KY. Visit Starpointe Studio’s booth #311 and shop the best visual arts and crafts of the Commonwealth.

EXHIBITIONS

May 29 – July 18: Mega Co-op Show: Celebrating 25 Years of the Highpoint Artists’ Co-operative, Highpoint Center for Printmaking, Minneapolis, MN. Opening reception May 29, 6:30-9pm.

January 5 – February 23: Wood Engravers’ Network Fifth Triennial Exhibition, Nelson Poynter Memorial Library, University of South Florida Libraries, St. Petersburg campus, FL
TBD: Wood Engravers’ Network 4th Triennial Exhibition, Arts Center of St. Peter, Minnesota.

88th Annual Society of Wood Engravers Exhibition See my print Luna at the following venues:
February 4 – 23: 87th Annual Society of Wood Engravers Exhibition, Bankside Gallery, London, UK.
March 14–April 26: Oriel Môn, Anglesey, Wales, UK.
May 5–June 21: Museum in the Park, Stroud, UK
July 3–August 23: Ludlow Assembly Rooms, Ludlow, UK

Wood Engravers’ Network 5th Triennial Exhibition See my print Homestead (taking rural life on the road) at the following venues:
January 5 – February 23: Nelson Poynter Memorial Library, University of South Florida Libraries, St. Petersburg campus, FL
March 27–May 17: San Francisco Public Library San Francisco, CA.
June 4 – August 8: ArtStart, Rhinelander, WI
Dates TBA: Knoxville, TN (details coming soon)
TBD: Wood Engravers’ Network 4th Triennial Exhibition, Arts Center of St. Peter, Minnesota.

Partially repaired hole-in-the-wall for the presses.

The Vandercook SP20 took a spill and so I’m trying to get her repaired and print ready – fingers crossed that this doesn’t cost an arm and a leg AND that it prints well after all the repairs are complete!

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WORKSHOPS
June 29 – July 4: A week-long Wood Engraving workshop at Frogman’s Print Workshops in Iowa City at the University of Iowa.
August 16 – 21: A week-long Wood Engraving workshop at John C. Campbell Folk School in NC’s Appalachian mountains. Hone or learn wood engraving in a peaceful and supportive environment.

ART FAIRS
April 9-12 Brooklyn Fine Art Print Fair at Power House Arts through the Society of American Graphic Artists (SAGA) Booth – See Tree Swallow Sunrise in SAGA’s booth along with loads of other amazing prints!
March 11 (Saturday), 10am – 5pm – KY Crafted Market at the Alltech Arena in the Kentucky Horse Park, Lexington, KY. Visit Starpointe Studio’s booth (#311) and shop the best visual arts and crafts of the Commonwealth.
March 12 (Sunday), 11am – 4pm – KY Crafted Market at the Alltech Arena in the Kentucky Horse Park, Lexington, KY. Visit Starpointe Studio’s booth (#311).

EXHIBITIONS
May 29 – July 18: Mega Co-op Show: Celebrating 25 Years of the Highpoint Artists’ Co-operative, Highpoint Center for Printmaking, Minneapolis, MN. Opening reception May 29, 6:30-9pm.
January 5 – February 23: Wood Engravers’ Network Fifth Triennial Exhibition, Nelson Poynter Memorial Library, University of South Florida Libraries, St. Petersburg campus, FL
TBD: Wood Engravers’ Network 4th Triennial Exhibition, Arts Center of St. Peter, Minnesota.

88th Annual Society of Wood Engravers Exhibition See my print Luna at the following venues:
February 4 – 23: 87th Annual Society of Wood Engravers Exhibition, Bankside Gallery, London, UK.
March 14–April 26: Oriel Môn, Anglesey, Wales, UK.
May 5–June 21: Museum in the Park, Stroud, UK
July 3–August 23: Ludlow Assembly Rooms, Ludlow, UK

Wood Engravers’ Network 5th Triennial Exhibition See my print Homestead (taking rural life on the road) at the following venues:
January 5 – February 23: Nelson Poynter Memorial Library, University of South Florida Libraries, St. Petersburg campus, FL
March 27–May 17: San Francisco Public Library San Francisco, CA.
June 4 – August 8: ArtStart, Rhinelander, WI
Dates TBA: Knoxville, TN (details coming soon)
TBD: Wood Engravers’ Network 4th Triennial Exhibition, Arts Center of St. Peter, Minnesota.

The post 2026 Events and Workshops appeared first on Starpointe Studio.

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December 21, 2024: Last Call Art Market 11am – 5pm at West Sixth Brewery in Lexington, KY.

December 7, 2024 – January 4, 2025: SAGA’s (Society of American Graphic Artists): Mini Gems, Saturdays at the SAGA Gallery, NYC. Opening reception: December 7, 3pm – 5pm, 2024, at SAGA Gallery, 32 Union Square East, suite 1214, New York NY 10003.

October 16 – November 22, 2024: Illustrated Nature: A solo exhibition at Clayton Staples Gallery, McKnight Art Center West Room 205, Wichita State University, Kansas. Opening presentation and reception, September 24, starting at 4pm.

September 21, 2024: 11am – 4pm Bugfest at Bernheim Forest! I will be one of only three vendors, showing off all my insect-themed prints and books and offering a fun collaborative project called “Notes To Nature”. Visitors will be invited to leave a “Note To Nature” by drawing or writing on butterfly pages. After there are many, many pages, I will bind them all together with a coptic stitch binding technique and custom covers.

September 7, 2024: 11m – 2pm: All Fall Festival at the Berry Center! I will be set up as a vendor, there will be a bake off and fun kids activities and wonderful edibles and crafts – come say hello!

June 29, 2024: 11am to 3pm Bookfest at WNY Book Arts Center! I will be a vendor in the Artist’s Market. I grew up in Buffalo, NY so this event is always special to me. I haven’t participated since 2019, so come say hello!

July 21 – 27, 2024: Join me at John C. Campbell Folk School in the Appalachian mountains for a memorable Wood Engraving Workshop! Registration is now open here. Not sure if this is for you? Read a first-hand account from one of my students here. This is one of the few workshops I am teaching this year – don’t miss out! Join the waitlist – fill in any cancellations!

June 21 – September 31, 2024: Surface Impressions is an exhibition featuring relief prints, including my Homestead wood engraving at Lux Center for the Arts (in collaboration with Constellation Studios) in Lincoln, Nebraska.

June 29 – August 23, 2024: WNY Book Arts Center 16th Annual Member’s Show where Buffalo Harbor: Canal Side will be displayed. The opening reception is during Bookfest, June 29, 11m to 3pm (I’ll be there!).

Society of Wood Engravers 86th Annual Exhibition. My engraving Ha-Ha won the “Print With a Point” prize! You can also see my print Country Library among the excellent selection of prints in this exhibition. The exhibition is traveling to: Northern Print, Newcastle, UK, March 9 – April 26, 2024; The Barn, Banchory, UK, May 9 – June 29, 2024; Frames Gallery, Perth, UK, July 27 – August 24, 2024; The North Wall, Oxford, UK, September 3 – 28, 2024; and Zilla Bell, Thirsk, UK, October 6 – 26, 2024.

Wood Engravers Network 5th Triennial Exhibition. My print, Homestead will travel with the exhibition through the end of 2026 starting June 17 at Stockton University Gallery through July 26, 2024. It then travels to: Hamilton Wood Type & Printing Museum, August 1 – November 10, 2024.

The post 2024 Events appeared first on Starpointe Studio.

SUPPLY LIST
– 8.5 x 11 inch copy paper (inside pages)
– Cover material (cereal box, other recyclable paper board material, fabric, wrapping paper — even draw your own cover illustration on plain paper)
– thread (embroidery thread, string, yarn, ribbon, etc.) in a length that is a little longer than twice the height of your book
– Scissors or sharp knife (like a box cutter, with a cutting mat)
– Sewing needle, paper awl or a nail — an unbent paper clip can work in a pinch to create thread holes.
– Pencil
– Ruler

PREPARE THE PAGES AND BOOK COVER
For this example, I am using 8.5 x 11 inch copy paper. You can use whatever size paper you want. I think thinner text paper is good for the inside pages.

I start by folding an 8.5 x 11 inch sheet of copy paper in half.

Cut or carefully tear the paper along this fold. Then, fold the paper in half again. If using copy paper, you can make up to 6 folded pages. Fold your paper neatly, matching edges before creasing.
Nest the folded pages together so the tops are all matching (you want them all to be the same size).

With all the pages together, measure or find the center and mark it lightly in pencil in the center fold. Do you see where I am holding a needle at the center mark? See how it is in the center fold of the nested pages? I have made two more marks — one to the right and one to the left that are 1/2″ to 1″ from each paper edge also along the center fold.
Next, pierce all your pages at once with your needle in the places you marked. You want three holes along the center fold.

Select and prepare your cover material. I’m using recyclable paper board. The cover material should be the same size — So for mine, my open pages are 5.5 inches tall, by 8.5 inches wide, so my cover is the exact same size.
If I wanted to use a part of the paper board that didn’t already have a fold, I could *lightly* score/cut the outside “spine” of the cover with a box cutter or knife to help it bend more easily. If you are using thinner material for your cover, like paper, it will be easy to fold without scoring/cutting.

Put your punctured pages inside the cover you have created. With all the edges matching hold the group of pages and cover together without letting them move and using the holes you have in the pages, push a needle, awl or nail through the cover as well. All the holes should line up so that when we sew the book together, the edges of the pages are neatly contained within the cover — no page edges or corners peeking out.

1. With your threaded needle, go through the cover and pages’ center hole from the outside and leave a “tail” of about 3 inches sticking out.

2. Now go through one of the open holes with the thread and needle. Again, leave that 3 inch tail sticking out still.

3. Take the needle and thread from the outside of the cover going inside through the last remaining open hole.

4. Take the needle and thread back through the middle hole (inside to outside) — be careful not to pierce the thread on your way through the hole.

5. Knot your thread — I use a square knot to secure the thread. The remaining thread can be either trimmed to within a 1/4 inch of the book or kept long and decorated — you can put beads or charms on the extra thread or make it into a bow. If it’s extra long, it can be a clever, built-in bookmark.

A finished pamphlet stitch book using a recycled cereal box for a cover: This is a very easy binding technique to apply to zines, short stories, blank journals or sketch books.

Post your creative versions of this simple book structure and follow me on social media — tag “Joanne Price Starpointe Studio” on Facebook and @starpointestudio on IG and Twitter.

The post Pamphlet Stitch Book: Step-by-Step appeared first on Starpointe Studio.

After finishing the engraving, the block was printed on the very same printing press that Melanie VanHouten (JSP Artistic Director) helped me move into my studio on a frigid day in January 2017! The “Thank you” cards received the same royal treatment as the engraving – going through sketches, color and font selections – before a final design was selected. While the card was digitally designed, the printing process is the same as the engraving — printed on my 1925 Chandler & Price clamshell press. For a sculpture park, I wanted to get a really nice embossment of the design in the paper — creating a sculptural relief — from relief printmaking! The card’s paper, Flurry, is made using wind and hydro energy — responsible environmental choices are the default for Starpointe Studio and JSP.

Photograph of the old tobacco barn – ant’s eye view. (Photo credit to Joanne Price, June 7, 2018)

Panoramic photo with newly planted trees and soon to be planted native flowers and grasses for prairie restoration on the south side of the driveway to Josephine Sculpture Park. Photo credit to Joanne Price, June 7, 2018.

One of several sketches first submitted to Artistic Director, Melanie VanHouten, for approval.

After making some changes to the drawing/composition, a final sketch is ready to be transferred to the 3 x 4 inch endgrain Maple wood block for engraving.

The end grain block with drawing transferred and engraving process begun. The surface of the block is toned with black printer’s ink to help my brain remember that what I carve away will be white. Some elements of the drawing are further clarified and/or decided as I engrave.

Further progress on engraving. The white is a chalk I use to help me see the lines better. In wood engraving, the block is cut by hand with tools called burins – one tiny line/mark at a time.

The finished print displayed above the engraved block. Notice that the image is reversed.

And finally the green part of the “Thank you” card being printed on my 1925 antique printing press.

And then, 2019’s end of the year thank you note to donors (who gave over a certain amount) received a handsome bookmark with part of this image — printed directly from the woodblock with some hand-set metal type. Josephine Sculpture Park is a favorite place of mine — supporting art in Kentucky, serving a largely rural area, creating a space where science and art can come together (ie: NASA Museum Alliance Night Sky Tours, Frankfort Audubon Society programming), and JSP’s commitment to nature and art education, and sustainable land stewardship. JSP supports all the things that I love and believe in! If you’ve never visited JSP before — you should visit now — they are open everyday, 365 days a year. Find the sculptures I used in the print! Hint — they are not where I have drawn them.

Illustration with hand-set metal type.

Front and back of the 2019 “thank you” bookmark.

The post Josephine Sculpture Park Special Commission Project! appeared first on Starpointe Studio.

The Ayatana crew decked out in bug nets seeking lightning bugs.

A mosquito with my blood — artfully arranged and lit at the direction of professional macro photographer and consumer electronics industry veteran, John Healey.

Capturing all flying insects at Mer Bleue Bog with Moth expert Diane LePage.

A blinded Sphinx Moth found by luring moths with a bright light and white sheet between 9pm and 12:30am

The epic and beautiful Maman sculpture by Louise Bourgeois at the National Gallery of Canada. The bronze spider sculpture has a sac containing 32 marble eggs!

Using my clip-on macro lens to explore my own garden — look a wheel bug!

And then, a strong Frankfort, Kentucky community supporter, Bob Patrick generously gifted me a beautiful binocular microscope and petri dishes to study insects! Wow! Bob also donated a 15-inch telescope (it’s taller than me!) and many other astronomy materials, equipment, and books to my husband, Dan Price, NASA Solar System Ambassador! Wow — talk about level up! Thank you Bob!

Salt Marsh Moth caterpillar ready for a hug!

The hairs of the Saltmarsh caterpillar seen under higher magnification — look at those barbs on the hairs. As far as I know these caterpillars are not poisonous.

The post Bugged Out at Ayatana this Summer appeared first on Starpointe Studio.

I started by drawing directly on the block.

This print was originally printed with a construction steamroller at the Portland Museum in Louisville, Kentucky. The free public event was organized by Rachel Singel of the University of Louisville and supported in part by a grant from Burning Man.

The edition was printed on a large Takach Press at the University of Kentucky with printing assistance from Charles VanMeter.

The post Flight Path: From Block to Street to Press appeared first on Starpointe Studio.

Cutting the block is very physical and obviously there is a huge amount of wood chips created from a block this big!

These prints take a lot of work and planning and sometimes I don’t get things right the first time, which is easy to forget when I’m only posting the finished pieces and not every step of the process. As I was cutting the 18 x 24 inch woodblock, I realized I should have included a prey animal to allude to the hunting tradition. So, I decided that I would add a little rabbit as part of the screen printed colors.

3 of the 5 screen printed colors complete – the 6th color comes from the woodblock.

The post Spring Sprint appeared first on Starpointe Studio.

– A Jackalope in black & white — a woodcut interpretation of the mythological wild-west-beast.

– An illustration for Wells Book Arts Center’s fifth chapbook, Negative Compass by Bret Shepard.

– And three wood engraved illustrations for the University of Kentucky King Library Press’ upcoming letterpress publication, “Ma non e una cosa seria” (But it’s not really serious, 1917), a Luigi Pirandello play translated from Italian by Ann Colcord for the University of KY’s King Library Press. A comedy in three acts following a wealthy womanizer and the homely/humble manager of a boarding house. The book will be available late 2018 from the King Library Press.

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