Artist at Work: Ellen Corddry

Ellen Corddry is a graduate of the Maryland Institute College of Art (MICA). She specializes in watercolors and woodcuts, often combining the two media to create striking contrasts—the bold, black lines of woodcuts juxtaposed with the delicate translucence of watercolor.

Her journey into woodcut printmaking began 45 years ago when a favorite professor suggested that the technique would complement her artistic style. Without formal training in the medium after graduating from MICA, she relied on printmaking demonstrations and books to develop her skills. Preferring the softer, less mechanical appearance of hand-printing, she has continued refining her process over the years. Inspired primarily by nature, Ellen also enjoys depicting cityscapes. Currently, she is working on pieces featuring a sea turtle, an owl, and a chipmunk.

Understanding the Woodcut Process

Woodcut is a form of relief printing, a technique in which an image is carved into a surface such as wood, linoleum, or even a potato. Ink is then applied to the raised portions, and paper is pressed onto the surface to create a print. Historically, woodcuts were used to print the first books, making it one of the oldest printmaking techniques.

One of the key challenges of woodcut printing is working in reverse. The carved design must be a mirror image of the final print. Instead of carving what will be printed, the artist removes the areas that will remain white while preserving the sections that will hold the ink. Since carving is irreversible, careful planning is essential.

The Making of 'Indigo Bunting in Crabapple'

Ellen begins each woodcut by creating a design on paper. For 'Indigo Bunting in Crabapple', she did a detailed watercolor study to plan the color palette along with the composition.

Once satisfied with the composition, she transferred the design onto a woodblock and carved it using knives and specialized tools.

After the carving is complete, she prepares for printing. Using oil-based ink on rice paper, she prints each piece by hand. The ink has a strong smell, so she typically works when she can keep her studio windows open. However, for a piece like Indigo Bunting in Crabapple, she had to print during the colder months to meet a deadline for the Blossoms of Hope exhibition in March. She finished carving the woodcut in November and printed it later that month with the windows open.

Once printed, the pieces were hung in the attic to dry before she could begin painting them in January. This particular woodcut was especially challenging to paint due to its intricate details. The first print took three days to complete, serving as a template for painting ten additional prints simultaneously—a demanding but rewarding process.

Selecting a title for the artwork involved careful consideration. In the end, Ellen chose Indigo Bunting in Crabapple, a name that clearly conveys the subject of the piece.