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  FINE ART:  Printmaking
  Peter A Doolin
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I was born and raised in the San Francisco Bay Area, growing up in Redwood City. I still live in the Bay Area, and love it a lot. As far back as I can remember I've had a strong creative impulse - wanting to build things, and to draw. I made additions to my childhood books, then created various pictorial adventures with my brother Rory. Got in trouble a few times in elementary school for drawing when I "should have been" doing my schoolwork.
Later, I took some art classes in Junior College, getting an AA degree, but never pursued art any formal sense.
As an adult I continued drawing - mostly charcoal, conte' crayon, pastels, pen and ink. Did some painting as well - airbrush, watercolors, acrylics, oils - but for the most part, drawing was my medium.
Somewhat over three years ago, a friend talked me into taking a printmaking class at City College Of San Francisco. I was hooked by printmaking, to say the least, and have thrown myself into it wholeheartedly. At this point, I do most of my printmaking at the printmaking studios at Fort Mason.
At first, etching and aquatint were my primary printing techniques, and I still enjoy them - as well as drypoint and monoprint. When I discovered collagraphs, however, I found something that I really love to do. At present, I'm combining various techniques in multiple-plate prints. I still continue to draw and paint, of course.

My usual subjects are people, of a sort, interacting - or dreamscapes, landscapes of another "here". What exactly my characters represent, or what they are doing, is not for me to say - I don't ask them. Sometimes, though, they seem simply to be posing for a portrait, and so I oblige them.


A collagaph is made from a textured plate which is inked and run through an etching press. I use matboard, usually, which I'll coat with gesso, then create textures with glue, fabric, sand, and so on. Objects, such as gaskets, string, small children, or whatever can be impressed in gesso or modeling paste on the surface as well, and intaglio lines can be scratched or cut into the plate. Collagraphs are very versatile and, when used in multiples, can create an endless variety of textures and design. My multiple-plate prints may also include etched or drypoint metal plates, monoprints or even linocuts in conjunction with the collgraphic plates.


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