Artist Dorothy Cochran Using YUPO as a Printmaking Plate
Tell us about yourself and your work.
I am a long-time professional painter/printmaker working in a broad range of print techniques. I specialize in using innovative processes to update traditional ways of making a printmaking plate in my studio practice. My works on paper are primarily focused on relief and intaglio methods which include monotype/monoprint and collagraph to name a few. Ten years ago, I discovered encaustic (hot wax) and added those methods to my practice. Printmaking processes excite me, and I enjoy sharing my knowledge with other artists. There is magic in the pressing of paper to plate, a birth and a marriage all at once. Experiencing that emotion Paper painting is like no other and is central to my artmaking. I am inspired by the working of solar systems, metaphysical thought, microscopic science and the bounty of nature. My teaching experience encompasses universities, museums, art centers and national workshops. I currently work at the Montclair Art Museum in NJ and do online and in person workshops throughout the country.
What are your go-to materials?
I just love YUPO! More than ten years ago, I happened to view a watercolor done on it while traveling in California. I researched the material and tried to imagine how I could use it with printmaking. I began experimenting with watercolor and various inks using YUPO as a monotype plate, both with a press and hand printed. Later I combined other types of print plates using the YUPO to print multiple colors and shapes in layers. Most recently, I have been making encaustic collagraphs with YUPO as the substrate, printing them as intaglio and/or relief using traditional and non-traditional papers including Evolon.
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