Darrell Madis- Texas, USA
"I have been working at art since 1960, mostly with oil and acrylic painting and more recently with various print mediums. " - Darrell

Alexandru Mal- Cluj, Romania
The young artist Alexandru explains how to make art linocuts and presents his linocuts gallery.

Barbara Mason- Oregon, USA
"In the last few years my work has been about contrast and balance, in the work itself and metaphorically in my life. This new body of work takes the quality of a decision to a new level. Is this doorway or entrance or tunnel, an opportunity or a risk? Is there a treat, real or implied? Do we take a chance and go into an entrance, climb over an obstacle, climb through that window, squeeze through that innocent looking space, or go left or right at a cross roads? Are we comfortable with the status quo or will we change things for the sake of adventure and change itself? What are the colors of our choice? Are they safe colors? This is interesting to me as I have made choices I regret as well as choices I delight in. Which piece will represent your choice as a viewer? " - Barbara

McCafferty Rudd Studio - PA. USA
Besides their individual works, the two artists have found collaboration rewarding. They work together to create color reduction relief prints, a process which makes use of each of their areas of expertise (Tom's carving, Margo's drawing). The resulting prints have been exhibited nationally and collected internationally.

Frances Metcalf - Virginia, USA
Monotype.

Bernie Meyers- Sydney, Australia
I work mostly in photopolymer etching to make pictures which draw peoples’ attention to the details in nature. I also enjoy using natural found objects with etchings to make delicate collages.

Justin Miller - Colorado, USA
I enjoy working in intaglio, and lithography, but most recently have worked primarily in relief. My images are built around metaphors containing shepherds and birds.

Barbara Milman- California, USA
I use traditional print methods (woodcuts, linocuts, dry point) often combining them with new computer-based techniques like pronto plates (polymer plate lithography). Most of my prints are monoprints (one-of-a kind prints on a traditional print matrix), although I ocassionally do editions. I also make artist books using prints.

Annette Mitchell - New Hampshire, USA
Author of the book, "Foam is Where the Art is" and Highly regarded Instructor at Plymouth State University. Offering Polystyrene prints, paintings, and quilts.
"One of the finest teachers I have had the priviledge of learning from. She has a passionate for art that is visible in her warm and honest smile." - Robert

Ortansa Moraru - Ontario, Canada
I do woodcut , mezzotint, dry point, and monotyp. I am a lithographer as well.

Natalia Moroz - North Carolina, USA
From childhood reading and drawing were my passions, and I combined them by illustrating my favorite books. My life-long love to poetry had a great impression on my work. Like a short piece of poetry that can say more with less words than a long novel, so a graphic image, laconic and powerful, can convey much "on a limited budget".
Printmaking eventually became my favorite medium probably because not only the roots of early book printing and printmaking were entwined, not only they used the same equipment, but they still affect each other in the modern world. Black and white linocuts helped me to polish my sense of composition, to refine engraving technique, and to develop my present artistic style.
Lately, I tried a new painterly approach in my linocuts. I started using multiple plates, reduction technique, and gradient inking (also known as rainbow inking) to produce complex prints with subtlety and uniqueness of a monotype. Uniting strong concepts and expressive graphics, I strive to create visual metaphors with multiple layers of meaning.

Sean P. Morrissey - Nebraska, USA
Screenprints, lithographs, monotypes and installations concerning the contemporary American landscape and its growth.

Carol Morrison - Brooklyn, NewYork
More than any other art form, printmaking gives me freedom to articulate my constant flow of images—some emerging slowly, some rushing almost too fast to catch.
The moment of printing happens after a long process of sketching forms and often cutting intricate stencils to separate color and delineate space (a skill I learned during my ten years as a layout/mechanical artist). I like to combine techniques, such as intaglio and monoprinting, or laying stencils over hand-drawn images. Whatever techniques I use, my primary focus is to imbue my images with life energy, an anima that touches people. I am very particular as to how specific figures, abstract shapes and color work in concert with each other. But, at its best, the composition is accomplished with spontaneity and without inhibition.
For me, the work is a transformational processing of my own experiences, including those as a clinical social worker. People seem to recognize something familiar in my imagery. I think it serves not only as a window into my unique world, but as a window into their world as well—one they may not have looked through before. My work is quite accessible and intimate. The complex layering of the prints may function as an allegorical space where people can make their own meaning.

James G. Mundie- Pennsylvania, USA
"My printmaking activity focuses mainly on woodcut and etching, and to a lesser extent mezzotint. I enjoy woodcut for its portability and immediacy, and the intaglio techniques for the wide range of possible tones and textures. In recent years my work has focused on portraiture; but I don't think of these prints as portraits in the conventional sense, but rather as compositions that happen to depict specific people. It's not important to me that the viewer know the identity of the sitter. I'd rather they
appreciate the arrangement of form and tone. " - James

Pieter S. Myers- California, USA
I do copper plate photogravure - specializing in portraiture, figures and images of people.