Raised in Alexandria, VA., Emily studied at Beloit College, Beloit, WI; Academia Artium, Madrid, Spain; University of Wisconsin, Madison, WI; Pratt Graphics Center, NY; and The Arts Students League, NY.   She is a member of the Society of American Graphic Artists (SAGA), Audubon Artists, National Arts Club, Salmagundi Club, and Albany Print Club.

Emily Trueblood makes prints almost exclusively using relief printmaking techniques of linoleum or linocut and woodcut blocks. The artist sketches a composition on a block of linoleum or wood and then cuts away pieces from the surface with a chisel or gouge, leaving a raised area which will receive the ink.  A roller is used to apply ink to the raised surface, and the image is transferred to paper with a press or by hand burnishing. Since the recessed cut-away areas do not receive ink, they appear white (paper color) on the printed image.  Traditionally, if an artist wants to incorporate multiple colors into the linocut/woodcut, each color will be printed with its own carved block – a more complex system needing a strict method of registration to avoid overlapping or misplacement.   Emily has also mastered the rainbow roll – a printmaking technique that makes subtle gradations and color blends.

She has won many awards including the Audubon Artists Silver Medal; Catharine Lorillard Wolfe Bronze Medal; Trenton State College Purchase Award; and Center for Contemporary Printmaking Purchase Award.  Her prints have been included in numerous solo and group exhibitions in the United States, Europe, Asia, and South America.  Trueblood has work in the permanent collections of the Library of Congress, Washington, DC; New York Public Library, NY; The British Museum, UK; New-York Historical Society, NY; Newark Public Library, NJ; Print Club of Albany, NY; Portland Museum of Art, ME; Zimmerli Art Museum, NJ; The Museum of Modern Art, Israel; Cleveland Museum of Art, OH; among others.

”I am interested in creating a mood or the feeling of certain weather or time of day with the colors I use.  A third or fourth block is added if I feel it is necessary, but many times I use two blocks. In the proofing stage I draw and paint on a proof until I find the colors I want to use. When I am ready to print an edition (usually 50 prints with five artist's proofs), I mix the colors, bearing in mind that one color printed over another makes a third color.”- Trueblood