 Yes, I'm Ashley Mason and I'm currently a visiting professor at Metropolitan State University. I'm ending my two-year tenure here. And I'm also one of the three jurors of the 528.0 show, the print show at the Center for Visual Arts. I have here a collection of works not only from our collection here at Metropolitan State University of Visiting Artist Program as well as in print for my own collection of all artists that are across the nation. But I feel like the work encompasses not only representations of different medias within printmaking but also what's going on in the nation as well as in Denver and the region. So my work is primarily lithography combined with spring print. So usually I'll do a drawing which is called a key in black and white and then I will apply color through spring print on top. So it is combined two processes not only that are very broad and diverse as well within each medium but also encompasses water-based ink and oil-based ink. And along beside me here are two other prints that are lithographs. And this one is by David Morrison. And as you notice when you look at his work and you notice when you look at all the work people are building imagery through the process. So it's not always one drawing, one shot and then printed. In this case he's done many layers and I can't even tell you how many layers are in this but I know generally he does up to 20 layers of drawings, colors and layering. So in this case he has a drawing as well as digital applications as you can see some imagery that's been digitally manipulated alongside something that's been hand drawn. And as we move along this is Michael Barnes. This print is a lithograph done on limestone. So this happens to be on the photoplated method and this happens to be on a lithographic stone. Once again many layers of drawings that compose and layer to complete this image. So we have three of these come as various approaches to lithography. In my case I like to use ball grain plates so I do hand drawn on the plate. In this case using photographic plates and in this case using the limestone. They happen to all be etchings all on copper. So they have used acid to incise the line all printed in oil-based ink. I'll leave this piece by Adrienne Miller. Actually a lot of new processes are being incorporated with fabrication methods. So this person actually has hand drawn elements in the bottom as you see in your print using the traditional etching method. And then also these areas here you see have been digitally engraved into the plate. As we go down to these next four these happen to be prints from our collection of visiting artists as they visited Metropolitan State University and worked with the students. So these are all relief prints. This one by Karen Coombe. Many layers of color though she combines a lot of what would be called a blend roll and applications of color within one run. And she also uses a lot of stencil work as she's applying the ink onto her block. So it's all wood carving in this case. This image by Tom Huck. All done I believe it could be I'm not to be honest I wasn't here but I believe it was either a linoleum or wood carving. Generally he works in black and white. Generally much larger than this. But you can see how he's applied really dense intricate narrative. This is our actually most recent visiting artist, Humberta Sands. And he actually combined in this case he combined a wood cut and self-screened for color. So similar to the way my work is done only in this case he did his key image in brown as you see carving on her lead wood block. And visiting artist we have last year, Jefena Miller who's an alumnus of Metro as a student. And she actually uses a lot of relief printers are venturing into worlds of printing and carving onto plastics. So in this case she carved into polystyrene to make this image as opposed to wood or linoleum. And then we have one rod where she's just done one roll but in a blend from red to black. Finally we have silk screen or screen print I should say. And you'll see various applications from these artists as well. Matthew Hobson Walker. You can see the various applications where he's combining in the background a digital pattern that he's made and done it photographically as well as hand drawing that he's also applied onto photo motion through a screen. So he's layering many different colors. Every color you see is a different drawing or a different substrate whether it be stencil cut out or a digital image that's been printed or hand drawing. Spinny, there are you Spinny. This is one of her prints. Also a combination but mostly made through digital means obviously by the halftime that you see here as well. So many of that work was done on the computer to make all the different layers through substrates. Mark Housford in this case. Every color once again you see is a hand drawn. He starts hand by hand drawing and then he'll apply work into the computer and resolve or finish all the layers of drawing. So this might have about 20 different layers of printing. So the end result can be quite complex and involved. And then Midwest pressed which is Tim Dooley and Aaron Holson and this is a combination of layered imagery all made through digital means as well.