Julianne B. Ricksecker portrays realistic landscape imagery in pastel, monotype, intaglio printmaking (etching and collagraph), and watercolor painting. Art by Julianne has been exhibited in local, regional and international competition. She is a member of the San Diego Museum of Art Artists Guild, the Pastel Society of San Diego, and  the San Diego and North County Printmakers.

Recent awards include 2nd Place at the 8th International Miniprint Biennial at the Center for Contemporary Printmaking, 3rd Place at the San Diego County Fair in the category “Other 2-dimensional” and Honorable Mention for “Cascade Creek Falls” at Front Porch Gallery, in 2011

Inspired and delighted by the beauty of landscape, I try to express the awe and wonder I feel through a variety of media on paper.  I am fascinated with the effects of light on the colors and textures of the landscape, and with the rhythms and patterns of the shapes therein.   I wish to evoke in the viewer some of the pleasure, peace and joy I feel when experiencing and contemplating our natural world in the form of the landscape. ”

Julianne’s imagery comes from places she has visited, such as waterfalls in Yosemite, vistas of Grand Canyon, Zion National Park, the Sierra Nevada mountains, and desert scenes of Anza Borrego.   Look for new imagery from her recent trip to Glacier National Park, Yellowstone and the Grand Tetons.


5 Responses to About

  1. Greetings!
    Thank you for your blog on printmaking! My wife and I have a small collection of intaglio of various sorts and it was helpful to see your take on current techniques. I just wanted to let you know that we are very happy with our purchase of one of your Burnt Pine original prints at the “7 Printmakers” gallery in Balboa Park. What caught my eye was the subject matter. I am a research scientist working with the wound response of trees including the formation of fire scars, which is the subject of the print. You might be amused by some of my articles linked to the above website, particularly a few listed below.

    Thanks again and Happy New Year!

  2. Julianne says:

    Hi Kevin,
    Happy New Year to you also! I appreciate you taking the time to read my blog and to comment. My son was a forest service firefighter for some years, and we were just discussing last evening whether manzanita roots are killed in the fires, or whether they might regrow from roots.

    My comments on intaglio are by no means exhaustive – there are a lot of newer techniques aimed at being more health conscious for the artist, but I am still traditional in the use of acids for much of my work.

    For those who are curious, the print referred to is a miniature etching, represented here:

    Your articles look interesting, but I will defer reading until I have a little more time to digest them! Currently have holiday guests to enjoy!

    Thanks again,

  3. james says:

    Hi Julianne,

    Found your website/explanations inspiring. I am not an artist- trying to develop the “art” side of me over the last few years…and slowly getting better.
    However after a decade of work with silver and glass (cloisonné) enamels I am finding the “metal” side less interesting than the reflections of light on glass which I find astonishing to create.
    So I am considering moving towards more work with glass….but then keep thinking is all this time on learning metal skills wasted, is the equipment wasted etc, is it that the metal takes so long to work with, ?
    Been searching the web for artists who become reasonably good in one medium and then make a major change to another- does it happen much…do you know of any examples on the web? It looks like you have worked with various medium so thought you might know.
    Thank you for your website.

    • Julianne says:

      James, Thanks you for your comment and question. I don’t know how often an artists devotes years to one medium and then switches. I found that after about 13 years devoted entirely to printmaking, mostly etching, I was ready to expand into other media. I consider it an expansion, not a switch, for I still return to printmaking regularly. I never consider the skills and equipment wasted, even if I don’t continue to pursue an avenue because I learn from everything I try. I would suggest you follow your heart on the new direction, but don’t dispose of the old equipment for at least a year! (Maybe even two.) You may find the exploration leads you to new ideas to apply in the cloisonné work. I can appreciate the frustration with metal taking so long to work – that is part of what pushes me to the faster processes of monotype (REALLY quick!) or pastel or watercolor. But I still have an affinity for working the metal and it always calls me back. Good luck in your new direction!

  4. Monoprint-Monotype.com is live and the online Magazine is at

    So are you ready to join other artists in this project?

    We are looking for artists, articles videos and more for our next issue and for our website. So if you or someone you know is interested we would need at least 10 jpegs (1200 longest side), a bio and art statement and a profile picture. Also if you would like to do an interview I’ve attached some interview questions.

    MONOPRINT-MONTYPE-STRAPPO Interview questions

    Tell us about yourself. How did you got started in these techniques. Did an artist inspire you or did you come to it through a class?

    Along that line, to you, what is the most exciting element about this technique?

    Artists seem to use everything from oils to specialty inks and acrylics. Is there a particular medium you prefer?

    What advice would you give artists just starting out in this technique?

    What does your typical studio day look like as if anything is typical for an artist?

    What artists have influenced you?

    Are there artists you would like to recommend to our readers?

    Finally, is there anything you would like to add?
    If there is a question you would like to add please feel free to do so.

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