Shop Talk and Color Proofing

Been a busy few weeks. I have been able to get full access to the printmaking studios for the summer and its looking like I will be in 2-3 days a week to work on projects and experiment with techniques. Right now, I am playing with photographic collograph which I first learned about in Beth Grabowski and Bill Fick’s book Printmaking: A Complete Guide to Materials and Processes.  Along with that I am going to go into researching and experimenting with some photographic etching processes and see what results I can start getting for future possible editions.

But this past week has been quite busy and a lot has been done. Last week, I was introduced to Curlee Holton of the Driskell Center and the Experimental Printmaking Institute. He is a master printer and continues to create editions at EPI while he has been working with the Driskell Center to bring in new artists and shows. Currently, he has been commissioned to create an edition for an artist through their gallery. As part of this a large section has to be printed inkjet and areas around it will be screen printed. Curlee has hired me on to coordinate and print the full editions inkjet layer because they do not have the equipment at EPI. This is a great opportunity for me to connect with another shop and for possible future work.

Then yesterday, I was a part of a Shop Talk session as presented by Printmaking Legacy Project, a 501(c3) created by Susan Goldman of Lily Press at The Old Print Gallery in Georgetown. Susan has started this organization to create documentaries about older generation of printmakers and to record their thoughts and ideas before they are lost. She is creating her first short documentary on Evangeline J Montgomery. EJ is a mixed media artist and curator who Susan has been printing with since 2010 and has quite a history, check out the trailer for the documentary.

My part of the session was to discuss the Intersecting Methods Portfolio and laser engraved relief printmaking. I was able to lay out and discuss some of the images from the portfolio and brought along a few plates and prints that showed off some of the possibilities of the process. There was quite a bit of enthusiasm and interest in the process and how it could work other substrates. Here are two images from the afternoon.

Myself with Erwin Thamm, EJ Montgomery and Susan Goldman. Photo credit: Thomas Petzwinkler

Myself with Erwin Thamm, EJ Montgomery and Susan Goldman. Photo credit: Thomas Petzwinkler

Me describing the laser engraving process and some of the works. Photo credit: Thomas Petzwinkler

Me describing the laser engraving process and some of the works.
Photo credit: Thomas Petzwinkler

And earlier today, I met with Stephen Evans  to proof some colors and run some tests for the final edition. I purchased some Hanco Fire Red after we meet two weeks ago and looked at swatches. Today we mixed it up with some tint base and pulled swatches on scrap tests to see how the different ratios of fire red to tint base would work with the black layer printed underneath. Those the variations were small, we did find a combination that he felt work better than others. So we decided to do some test prints some not so great test prints from previous sessions. The result looked great minus some scumming, which I will clean up for the final. Stephen was very pleased and excited to be able to be in the shop working with me to create it. The current plan is to meet next Monday and with a new plate and proof a BAT for the edition. Then I will work on getting bigger batches of the inks together, tear paper and trim newsprint before we start the edition on the 22nd or 23rd. I hope to have it complete by July, so that we can meet on last time to sign and number the edition before he leaves for Iowa. Here are some images of materials and today’s work.

Materials coming in.

Materials coming in.

100 Sheets of BFK, not all for this edition, but eventually they will be used.

100 Sheets of BFK, not all for this edition, but eventually they will be used.

Multiple swatches with different ratios of tint base.

Multiple swatches with different ratios of tint base.

A test pull in the general area of the final color.

A test pull in the general area of the final color.

Proofs from todays tests.

Proofs from todays tests.

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