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Six-color etching and screenprint with chine collé and hand-cut gampishi oversheet: The first plate is printed in light green, light blue, light brown, and light gray inks from an aquatint with a brown chine collé element. The second plate is printed in black ink with etching, sugar-lift, spit-bite, drypoint, scraping, burnishing with the two lower comers cut at diagonals and reassembled after inking and prior to printing. The oversheet is white gampishi which was screenprinted. 136 diamond shapes were hand-cut according to placements designated by the artist and attached using 10 diamond shapes cut from BEVA in placements designated by the artist. The gampishi oversheet being attached at irregular intervals will dynamically respond to its environment with changes described by the artist as "expected and welcome." To allow movement and protect the oversheet from damage, each print was mounted using kozo-shi strips to museum board with an 8-ply museum board window overmat. — Winter Speaks, 2015
Jim Hodges; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center

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Woodcut: Hand-printed in dark blue with a barren on a sheet of white gampi from laser-cut luan plywood created from the artist's drawing and mounted to the Revere Silk sheet with wheat starch. Intaglio: Two steel-faced copper plates drawn by the artist using sugar-lift, spit-bite, scraping, burnishing, and extensive drypoint using sandpaper, twisted scribes, and scrapers printed in black ink. Screenprinting: Solid light blue shapes created using Rubylith material per colored paper shapes cut by the artist printed after the prints were dried and flattened. Digital: Digital pigment printing on white gampi from the artist's drawing on tracing paper adhered to BEV A conservation film and cut by a programed knife cutter and applied to the print with heat. Of Summer is the second print by Jim Hodges co-published by the Walker Art Center and Highpoint Editions intended to be part of a four print series concerning the four seasons. To match the presentation of the first print, Winter Speaks, each Of Summer print was mounted using kozo-shi strips to museum board with an 8-ply museum board window over mat. — ɹǝɯɯnS ɟo, 2016
Jim Hodges; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center

Not on View

• Digital pigment print of scanned green floral drawing on verso of the Somerset Velvet paper. • Digital pigment print of scanned Sumi ink drawing printed onto Asuka paper. • Asuka hand-cut and chine colléd onto the Somerset Velvet paper, prior to intaglio. • Intaglio from one steel-faced copper plate drawn by the artist using aquatint, spit-bite, sugar-lift, and drypoint in black ink. • Screenprint in light gray on Coventry Rag paper. Screenprint in blue on museum board. • Butterfly element made of gampi holographic foil, stainless steel wire, and BEVA conservation film. • Coventry Rag border cut and adhered to Somerset Velvet intaglio print using BEVA conservation film and gampi paper. • Three-dimensional elements hand-cut and folded forward to the artist's specifications. • Coventry/Somerset print attached to museum board using BEVA conservation film and gampi paper. • lnserted the hand-cut and folded butterfly element through the museum board and attached with BEVA conservation film and gampi paper. Finally is the third print by Jim Hodges co-published by the Walker Art Center and Highpoint Editions intended to be part of a four-print series concerning the four seasons. — Finally, 2017
Jim Hodges; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center

Not on View

Seventy-nine color print with lithographic, relief, screen and pigment printing with hand-cutting, collage, and metallic foil. Printing order: Coventry Rag: A gradation from light gray on the left to medium gray on the right was digitally pigment printed and seven colors (3 golds, copper, red, yellow, and orange) of foil were applied individually using metal leaf size screenprinted through screen stencils created from the artist's drawing. Kozo-shi: 92 shapes in 62 colors printed from 14 lithographic plates and one run of blended color screenprinting. The plates were created by relief printing black ink from wood panels onto tracing paper. The artist selected shapes from the printed tracing paper which were used to create photolithographic plates. After the lithographic plates were printed, an overprint of gradated screen ink transitioning from clear on the left side to transparent black on the right was applied. The printed kozo-shi was cut into strips and mounted on the printed Coventry Rag sheets using BEVA film adhesive. The kozo-shi mounted on the Coventry Rag was then screenprinted with eight colors (3 metallic golds, metallic copper, metallic bronze, red, orange, and yellow) through screen stencils created using the artist's drawings. — Bringing in the Ghosts, 2019
Jim Hodges; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center, Minneapolis

Not on View

Intaglio matrix, key plate, 2015

Jim Hodges

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Spit-bite aquatint, drypoint, and burnshing printed in black ink on gray Rives BFK with white Shikibu #1 chine collé. — days: I, 2021
Jim Hodges; Printer: Harlan & Weaver, New York; Publisher: Highpoint Editions, Minneapolis

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Drypoint, burnshing, and cutting with a jewelers saw printed in black ink on white Arches Cover paper. — days: II, 2021
Jim Hodges; Printer: Harlan & Weaver, New York; Publisher: Highpoint Editions, Minneapolis

Not on View

Two plate intaglio. One plate created with spit-bite printed à la poupée on natural Kaga gampi chine collé in green, gray, and tan inks on bright white Hahnemühle paper. The second plate was created with drypoint and burnshing and printed in black ink. — days: III, 2021
Jim Hodges; Printer: Harlan & Weaver, New York; Publisher: Highpoint Editions, Minneapolis

Not on View

Spit-bite aquatint printed in blue on pale gray Domestic etching paper with natural gampi chine collé. — days: IV, 2021
Jim Hodges; Printer: Harlan & Weaver, New York; Publisher: Highpoint Editions, Minneapolis

Not on View

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