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Cindy Ostroff,

Mill Valley & Fairfax, CA

Inspiration arises from the most unexpected sources: a long shadow cast by afternoon light, the rough bark of a sycamore, a detail from carved tile in the Alhambra. I see every inspiration in terms of how it might translate to a print. And the great benefit of working in printmaking today is that I can draw from the most ancient techniques—and the most advanced technologies.

My introduction to printmaking came in 1971...and I was hooked from the start. At that time, traditional processes were in place, meaning long hours of preparing plates, creating images with grounds and acids, and finally getting to the fun part: pulling a print off the press! I loved translating ideas to images and images to prints, and then having the capability of producing as many prints as I wanted. Years after graduation, I took a class in stone lithography at UC Berkeley and was again intrigued by the creative possibilities.

In 2011, I signed up for a weekend workshop with Dan Welden, the creator of solarplate etching. This new process was safer, faster, and greener than traditional printmaking and I immediately loved it. The process especially lends itself to translating photographic work into prints so I find myself constantly snapping pictures on my phone that I can then manipulate and transform any way I like. I have been working in solarplate etching ever since, constantly exploring ways to interpret the images in my head to the prints I produce.

Along the way, I also learned letterpress printing at the San Francisco Center for the Book and at Iota Press in Sebastopol. This is a technique that lets me put together my love of words and typography.

These days, I am retired from my career and happily spending lots of time creating etchings, lithographs, and letterpress prints. Many thanks for your interest in my work.

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