Brandie Dziegiel

Brandie Dziegiel is a printmaker and art educator based out of Clearwater, FL. Before she received her bachelor’s degree from the University of Maine in art education with minors in studio art and art history she was active duty with the United States Coast Guard for four years. Recently, her relief prints were published in Military Experience and the Arts (MEA) bi-annual publication.

Raised as a military brat, art making was one of the few constants in her life. Since an early age, she has utilized art as an essential tool in expressing and understanding her experiences of the various and diverse environments she integrated into. Her primary focus as a visual artist is to develop narratives that address and generate open discussions about difficult topics pertaining to the human experience and memory.

Exploring trauma through printmaking has become her most significant form of advocacy. She uses the relief printing process as a mnemonic device to approach challenging concepts, such as, gender roles, PTSD, trans-generational trauma, and most recently environmental trauma. She aims to create visual forms of social commentary through woodcuts using energetic, instinctive areas of negative space, juxtaposed with symbolic figurative imagery to express a personal narrative with a universal interpretation.



Artist’s Blog


Experimenting w/ Monotype Texture

Experimenting w/ Monotype Texture

After spending a full weekend devoted to pulling single plate prints from my etchings, I decided to try and experiment with texture and color. In keeping with my goals for this grant, I wanted to try something different by being more experimental in my approach to these processes.

Typically my prints, relief and intaglio, are black and white. I don’t have a particular disdain for color, I’ve just never had a good enough reason to incorporate it. My prints are particularly illustratively and it’s always been my intent to keep them stark and dramatic by exploiting the positive and negative areas of my narratives. I think it was four years ago, during my sophomore year of college, I was sitting in an artist talk. A painter, I can’t recall his name, said something along the lines of “Color should only be used when it serves a purpose. Color has meaning–using it without intent is counterproductive.” This resonated with me.

This past year i’ve slowly incorporated color into my intaglio prints using watercolor. Lately i’m become increasing more interested in combining various printmaking processes to achieve color. Below are images of my process in adding color to plexi-etching prints using monotype plate textures. Monotype meaning, a single print taken from a design created in ink on a plate. 


Mixing and rolling out the sepia and umber colored ink.

Various rags and cloth I use to create texture and to wipe ink away from plate.

I use a copy of the original sketch (placed under plexi) to give me a general idea of where to take away ink, and what areas need to be balanced.

Ink evenly rolled out on the texture plate which is also placed over the sketch.

Wiping away ink from the plate just enough that I can see the image underneath.I wipe and add texture until i’m happy with it.

The final print reveal. The original print was placed on top of the texture plate and put through the press.




Preparation for Pulling a Plexi-Etching Print

Preparation for Pulling a Plexi-Etching Print

In a previous post I highlighted the process of creating a plexi plate etching. Since then, i’ve created 11 different plates–each highlighting a threatened and/or endangered endemic species of Florida. Once I completed the plates, my next step was to then prepare for the process the pulling prints. Below is pictures depicting the various aspects of prep required before producing an actual print.

1st. I have to cut my large pieces of Rives BFK down to the appropriate size to fit my plate. I usually cut these pieces to have about a 1-2″ inch margin around the outside edges of the plate.

2nd. This is the paper soaking area. To the left is a tray filled with water that my paper will be soaked in. To the right is a towel I use to blot the paper before laying it on the plate.

3rd.Materials used for applying and wiping ink to & from plate. I use cut matte board to carve ink into the crevices of the plate and use tissue paper to carefully wipe ink away from the plate.

4th. Intaglio ink and burnt plate oil #2. I use about a 3:1 mixing ratio being 3 parts ink and 1 part oil. I work them together using a putty knife until I achieve an idea viscosity.

5th. My press with the pressure gauges set appropriately. I also lay a piece of newsprint paper down on the press bed which is where ill set my plate on.

Proofs a.k.a Artist Working Prints


*Creative Pinellas welcomes submissions from practicing artists for publication in our artists directory. To submit, please fill out the form here. Such publication does not constitute on endorsement by Creative Pinellas and does not imply a judgement about the quality of the work or the participating artist.