Stephanie Navon Jacobson
As an artist, I am always observing the world around me. Whether floral, landscape, animal, or figure, abstract or realistic, my images always go back to nature. I am first and foremost a printmaker, although I work in other mediums, too. I am a printmaker who paints, rather than a painter who prints. I was originally attracted to printmaking in college. I loved the studio community aspect as well as the various techniques. I enjoyed drawing and printmaking felt like it was a good fit. I like to experiment with various techniques. I often combine different processes by layering an etching over a silkscreen or a woodcut, etc. The possibilities seem endless. I also like the element of surprise each time you pull a print.
Teaching is another passion of mine. I came to teaching about fifteen years ago, after working as a graphic designer in NYC. I had been teaching at the Great Neck Adult Program when I decided to go back to graduate school for my masters. I received my master’s degree in May, 2001 and in September, joined the faculty at St John’s University. In addition to Great Neck and St John’s, I also teach at the Art League of Long Island, where I have been teaching since 2006. It is so satisfying to work with people who are new to printmaking or teach experienced artists a new technique and watch their enthusiasm as they ‘get bit by the printmaking bug’. Printmaking is such a versatile medium. It can stand alone or be incorporated with other mediums such as oil or watercolor. There are myriad ways to approach printmaking. It is user friendly—one can be successful and create beautiful prints regardless of drawing experience. I encourage my students to add printmaking to their artistic arsenal and incorporate it with their other artistic endeavors.
1. To learn by doing hands-on experimentation in a creative environment in order to build a working vocabulary of various traditional and experimental/ alternative printmaking techniques. Use these techniques in combination, incorporating photography as well as digital imagery in conjunction with printmaking. Although traditional printmaking is hundreds of years old, manipulating photographic and digital imagery and incorporating them into printmaking brings printmaking into the 21st century.
2. To teach good working habits in a community workshop setting. Printmaking is not a solo art form; the most successful studios function as a group unit with interaction among students and faculty using the facility.