inkAID Educational Advantage Program
The inkAID Educational Advantage Program offers discounted prices on
qualified products to educators and students in approved fields of study.
Educator Discount – 10% off on all inkAID Precoatings, 5% off on Transfer
Film, Digital Fine Art Fabric, Inkjet Artist Canvas, and Coating
Applicators.
Student Discount – 20% off on all inkAID Precoatings, 10% off on Transfer
Film, Digital Fine Art Fabric, Inkjet Artist Canvas, and Coating
Applicators.
Eligibility requirements:
• You must be an educator or student in an accredited fine art,
photography, graphic design, new media, or other approved program at a
collegiate-level institution or High School.
• A copy of your school issued ID (must be current and valid), or for
educators an approved purchase order from your institution.
Discounts will be applied at the time the order is processed and paid for
or, for purchase orders, when the order is invoiced.
To apply send an e-mail to sales@inkaid1.com to obtain an application.
Timothy Burns
Red Sun / Blue Trees
Copper plate hand sanded in two directions. Torn cotton cheese cloth was then laid on surface and lightly sprayed with fine gold acrylic, indian yellow hue acrylic, and red acrylic. When almost dry, the cheese cloth is pulled away, leaving a net pattern. The plate was then allowed to dry overnight.
Three very heavy layers of inkAID Clear Gloss Type II were then applied.
Printed the trees and sun on the Epson 7880, edge to edge.
Click image for a larger vi
Hidden / Revealed
Using ball grained aluminum, (sold for litho printing), I applied with a foam brush 6 layers of Titanium White acrylic.
This was followed with some underpainting with bronze iridescent acrylic, inkAid White Matte, and then tinted with one coat of red fluid acrylic.
Printed on an Epson 7880.
It was then finished with some minor overpainting and sharpie work and then coated with two coats of Golden Artist Colors Gel Gloss topcoat and one coat of Semi-Gloss topcoat.
Seeing Stones
Ball grained aluminum with multiple coats of titanium white acrylic.
Followed by three coats of inkAID White Matte.
Printed on the Epson 7880.
Top coated with 3 coats of Golden Artist Colors Gel Gloss topcoat.
Meditation On Blue
Ball grained aluminum with multiple coats of titanium white acrylic.
Followed by 3 coats of inkAID White Matte.
Printed on the Epson 7880.
The three gold rectangles are comprised of fine gold acrylic paint over red acrylic paint.
Top coated with 3 coats of Golden Artist Colors Gel Gloss topcoat.
I have been an artist in photography, video art & performance art, and since 1994 in printmaking, showing in regional, national and international exhibits. My work of the last few years has involved the exploration of printmaking and painting as a hybrid medium of expression.
For me, photography is another way to create images. My Dad gave me a 35 mm camera when I was 11, as I was constantly ‘borrowing’ his whenever I could get my hands on it; when I was 13 I entered my first photography contest.
Later all through Viet Nam and four years in the military I carried a camera and, when I could, a small sketch book – both as a way of interpreting what was happening to me and those around me, and to distance myself from it.
I exhibited photography off and on until I began a career in cinematography and video in the late seventies and received a Master of Art in 1979 from the University of Missouri-KC. I taught video and film production at Haskell Indian Nations University and later at Northern Illinois University. By 1986, bored with documentaries and commercial video production and seeking to return to the single image, I started a graduate program in studio art, while keeping my day job of producing educational programs in the arts. I found myself taking additional course work in photography and worked with traditional printmakers in video documenting their workshops and classes.
Upon gaining my MFA, I a took a ‘fun’ course in printmaking, and it was an epiphany in the studio: working the plates, inking, and pulling prints transported me out of the normal world and totally into image making. A wholly different tradition of the single image, a completely new toolset and way of seeing changed my perceptions of what my art was about. This was in 1992, and led to 18 hours of post-grad work with intaglio and relief techniques at Northern Illinois University and elsewhere. Until this time all my experience with printmaking was in documenting the work of others.
Today my work references the textures and patterns in nature often with barely revealed symbols and signs. In the series of abstract images “Visual Traces of Meditation” I tried to delineate the mediative process and journey that occurs when I create. While largely concerned with the interactions of light, color and texture via the use of inks, paint and metals, I find the intense concentration of image-making to be an interesting subject itself, and I explored that thought with those works.
The core problem with a biography is that one often tries to make one’s life into a coherent story and by doing so the reality of it gets lost or hidden. So here is some of the incoherence.
The essence of my life has been change. We moved a lot when I was growing up, Kansas City and St. Louis, Missouri, San Antonio, Texas, then later I lived in San Antonio again, Clovis, New Mexico, Saigon, Tucson, near Sacramento, California, then Missouri, Kansas, and Illinois. I’ve worked in Manilla, Buenos Aires, Michigan, Illinois, Missouri, Kansas, Sicily, and so on. Change and changes.
As an undergraduate at University of Missouri-Columbia I first majored in Literature – trying to find life’s answers in Dostoyevsky to Nabokov, Euripedes to Pliny, with doses of Thomas Pynchon, Sherwood Anderson, Burroughs [both of them] and Robert A. Heinlein as the principle directions. None of this explained Viet Nam and what I did there. However Claude Levi-Strauss led me to another area: culture.
Increasing my stay in the undergrade world was a last-minute-almost-graduated-switch to Anthropology. And while another 22 hours in it didn’t answer any personal questions about life, the Universe, and everything, I did realize that the one ‘common to all cultures at all times’ elements was artistic expression. Pottery shards and their decor, wall paintings, mosaics and the like are the bread and butter of cultural and classical anthropology/archaeology.
I found myself back into art; I still find myself in art.
-Timothy C. Burns
Wen Redmond
“Fiber art has sustained my creative impulses since 1975. It is a fluid and expanding art form. I enjoy pushing the boundaries to see ‘what if’.”
I am a mixed media/fiber artist. I create the entire structure of my art pieces. These works can include painting, dying, stamping, screen-printing, mono printing, and other means of surface design. My latest work contains digital printing. This involves using my own photographs, digitally manipulated in an artistic manner and printed on a variety of prepared substrates.
When I work, I encourage a collaborative process with spirit or my higher self, that mind-boggling principle of the universe. This process can also be called ‘flow’. When you are in this state of mind, the intuitive is tapped and the work can become more than the sum of it’s parts. I work out insights, inspirations, feelings and reactions to the outer world. Allowing time for these inspirations to percolate up from my unconscious is a vital part of my process. The nature of my work permits the viewer to see different images within the very same piece, drawing the viewer in. I achieve this with illusionary surface design digital collage or actual physical layering to produce one image.
Each work is unique and created individually.
-Wen Redmond
Wen Redmond has worked in the fiber field since 1973, when she made her first intuitive pieced textile construction. Her new fiber work is innovative and fresh. Wen delights in creating gentle tonal contrasts and layers that interact with each other. Redmond has been a member of the League of New Hampshire Craftsmen since 1993 and juried in stitchery and surface design. She is also a member of the Maine Art Association, Professional Studio Art Quilt Association, Surface Design Association, Women’s Caucus of Art, and the New Hampshire Art Association and Seacoast Fiber Artist Association. Her work can be seen nationwide in galleries, juried, solo, and Invitational shows including an invitation to The Museum of AQS in Paducah, KY in 1986, Quilter’s Heritage Celebration, Quilt 21, Quilts=Art=Quilts, Craft National, State Collage PA, Fiber Directions (juried by Jason Pollen), Whistler Museum, Columbia University, NYC, Rubin Gallery, Boston University, Niche Finalist 2008, and in private and public collections.
Among her publications are Surface Design Journal, Exposure Fall 2008, featured artisan in the July/August 2008 issue of New England Home Magazine, Art Quilt Elements 2008 Catalog, Niche magazine 2008, Innovative Digital Fiber Images Book, Fabric Art Gallery book featuring Metamorphosis on the cover, article Holographic Memories in Quilting Arts Magazine- April/May 2007, and Quilting Arts TV show, SAQA’s Professional Works Portfolio 13,14 and 15, Words Within NYC catalog, Fiber Arts Magazine review 2005, Crafts Report 1997 and International Quilters Magazine, article 1986.
She has just been nominated a Niche Finalist 2010 in Surface Design.
- Website: http://www.wenredmond.com
- Blog: http://www.fiberartgoddess.blogspot.com
- ETSY Shop: http://www.etsy.com/shop/wenredmond
- Twitter: http://www.twitter.com/wenredmond
- Artful Home: http://www.artfulhome.com/artist/7983.html
STUDIOS
- Salmon Falls Mill, Rollinsford NH
- First Star Farm, Strafford, NH
