tag:blogger.com,1999:blog-85381893810282207412024-03-05T06:53:30.006-07:00Blocks and Stones May Break My BonesPrintmaking tips, tricks, and in-progress projects for Fargo-Moorhead artist Kellie Hames.Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.comBlogger26125tag:blogger.com,1999:blog-8538189381028220741.post-54944651365183367592014-04-03T16:43:00.000-06:002014-04-03T16:46:04.786-06:00RedirectionJust a quick update to redirect you. <br />
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1. I have a new <a href="http://khamesprints.tumblr.com/" target="_blank">Tumblr</a>
site where I'll be posting a lot more pictures, a lot less text, and a
lot more often. I'm slowly making the move away from this blog to
something that's a little easier to use and update. I'm not deleting
this blog, just moving to a new one. <br />
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2. <a href="http://www.kelliehames.com/" target="_blank">My Website</a>
has been updated and now includes a section for the new body of work
I'm doing under "Artwork- The Suburbs." Also, the "Artist" section has
an updated biography.<br />
<br />Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com0tag:blogger.com,1999:blog-8538189381028220741.post-74408130102755846502014-01-25T00:10:00.000-07:002014-02-07T08:38:34.290-07:00From Tamarind to Takach- the Final Months in ABQSo... my last update left off with a promise of more results from my senior research project on Century Plates. Long story short- the results with the other two resurfacing methods were pretty terrible and I was a little disheartened about writing about it. Instead I'll just say, if you want to use these plates, just resurface them using grit and a sanding sponge <a href="http://kelliehames.blogspot.com/2013/03/century-plates-senior-research-project.html" target="_blank">as outlined in the last post</a>- they still take only a few minutes to resurface and can be reused over and over with decent results. The good news is that I've used them pretty extensively for a few prints I've done recently in grad school (oh yeah, I'm in grad school now!) and they seem to be holding up well, but I'll get to all that later. There's a lot to cover in between.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn73h7AHd8BGaHA_WZjIFP_nOHKOlu6ul9RZjSxoaYf4uFfrHsNgdx16CZiH-8IBdujuAVx2SRQtXXq1yJ1KKYlfREKaep0SH0GfWWCD_g1wm8h8rYrMVYwj6sPURRzQ_hztKkghyphenhyphentU7AJ/s1600/porter.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn73h7AHd8BGaHA_WZjIFP_nOHKOlu6ul9RZjSxoaYf4uFfrHsNgdx16CZiH-8IBdujuAVx2SRQtXXq1yJ1KKYlfREKaep0SH0GfWWCD_g1wm8h8rYrMVYwj6sPURRzQ_hztKkghyphenhyphentU7AJ/s1600/porter.jpg" height="320" width="260" /></a></div>
My last few months at Tamarind saw a few more visiting artists including <a href="http://tamarind.unm.edu/artists/view/236-liliana-porter" target="_blank">Liliana Porter</a> (who was kind and sweet and made a collection of prints with adorable little rabbits) and the whirlwind of amazing that was Charles "Chuck" Arnoldi. Bill and I made nearly <b>90</b> plates (layers) for Chuck in the span of a week and a half during his visit, and printed all day every day trying out different colors, combinations and layers. It was an insane amount of work, but the results were phenomenal.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMpEWSkxK9TP84pJtRJMn1NC9wktn4BDtfQ_Rx5xfOu_133G7ZrsTZx7fDi-AfGT7MeEo1Ax3l0uhNX3RFh-O4UuO7jI8hFasol77R6sFakUuHbJm3AydiNSWNNouOkmQNwd6iOss6aaj-/s1600/arnoldi.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMpEWSkxK9TP84pJtRJMn1NC9wktn4BDtfQ_Rx5xfOu_133G7ZrsTZx7fDi-AfGT7MeEo1Ax3l0uhNX3RFh-O4UuO7jI8hFasol77R6sFakUuHbJm3AydiNSWNNouOkmQNwd6iOss6aaj-/s1600/arnoldi.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMpEWSkxK9TP84pJtRJMn1NC9wktn4BDtfQ_Rx5xfOu_133G7ZrsTZx7fDi-AfGT7MeEo1Ax3l0uhNX3RFh-O4UuO7jI8hFasol77R6sFakUuHbJm3AydiNSWNNouOkmQNwd6iOss6aaj-/s1600/arnoldi.jpg" height="150" width="200" /></a><br />
Tamarind recently published a few of them and I just found out he named each one after characters in Breaking Bad, which is just awesome (one of the ones he and I worked on is titled "Heisenberg"). <a href="http://tamarind.unm.edu/artists/view/363-charles-arnoldi" target="_blank">Here's a link to some of the pieces Chuck made during his visit</a>. Lunch breaks and post-work ice cream visits were spent listening about Chuck's amazing travels around the world, adventures he's been on, books his wife had written and her time as a competitive female bodybuilder, and other incredible people he's met. In addition to being a wildly talented artists he was also near the top of my list of interesting people I've met.<br />
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Finally, the last month or so saw another major project at Tamarind, known as the Landmarks project. Four Native American artists and three Aboriginal artists came to the workshop and instead of working with Bill and I (because that's a -lot- of artists in a short amount of time!) the printer training program students were invited to participate and Bill, Rodney and I just helped out, and after so much work over the last year it was really nice to take it kind of easy. Artists involved in the project included Dyani White Hawk (image 1 below), Jewel Shaw, Marie Watt and Chris Pappan (image 3) from North America, and Marie Josette Orsto, Alma Granites (image 2), and Djirrirra Wunungmurra from Australia. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7GBkdzJtEZfEUMw_KT5dYl9wIBP4N_3PniH53Mjzkv-Il4Z9Vfd5jh1Zb6pPqaYW_H70Rv6JawKrn3ZJqXba2hagm7CNB6-lCshR7CCYRUV-PsoU_KRdDf4Wn8ng6_5LRL83BOFnX1QRM/s1600/DSCN0397.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7GBkdzJtEZfEUMw_KT5dYl9wIBP4N_3PniH53Mjzkv-Il4Z9Vfd5jh1Zb6pPqaYW_H70Rv6JawKrn3ZJqXba2hagm7CNB6-lCshR7CCYRUV-PsoU_KRdDf4Wn8ng6_5LRL83BOFnX1QRM/s1600/DSCN0397.JPG" height="320" width="240" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOoTB2qT1cA0Xg6ldZgEMdupFlDUIolE1DBprf13cKEubmw9p9F8GNGir4vAYimXZoKGu5UJk7BK6I1LUjorpcX5hSiYoOOnIfC7vHij1JGPnh2u1UB3HDlMLDsOAod81N1EZ9OBqCK3bW/s1600/DSCN0603.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOoTB2qT1cA0Xg6ldZgEMdupFlDUIolE1DBprf13cKEubmw9p9F8GNGir4vAYimXZoKGu5UJk7BK6I1LUjorpcX5hSiYoOOnIfC7vHij1JGPnh2u1UB3HDlMLDsOAod81N1EZ9OBqCK3bW/s1600/DSCN0603.JPG" height="320" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbfXf_wyZTO4IECA4UKB8O-j1UuouVVlmLPPNyL1Tnv4MqucACGE9Atc6jm4ChGRLntZQN9bpV1cbcT_LkVEMHnZ4dW95PmRu6eew8P-3xRHy1skBaMMqThxWKUtTiBOvl0G40adEjlCSj/s1600/DSCN0706.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbfXf_wyZTO4IECA4UKB8O-j1UuouVVlmLPPNyL1Tnv4MqucACGE9Atc6jm4ChGRLntZQN9bpV1cbcT_LkVEMHnZ4dW95PmRu6eew8P-3xRHy1skBaMMqThxWKUtTiBOvl0G40adEjlCSj/s1600/DSCN0706.JPG" height="300" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPrV2t_UP1kvNg9s41szsUV9IX7G0u1EDT8lrpJa3TlAFd1dAW7rGhmrK2O8oMuQf0ZoqcdOid9flmT2P_zKpglja1wMupMfP_zOfcBPrngd2gXTtPEGF8lUWrE1NeRoQd8c9LUoUXclbn/s1600/DSCN0481.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPrV2t_UP1kvNg9s41szsUV9IX7G0u1EDT8lrpJa3TlAFd1dAW7rGhmrK2O8oMuQf0ZoqcdOid9flmT2P_zKpglja1wMupMfP_zOfcBPrngd2gXTtPEGF8lUWrE1NeRoQd8c9LUoUXclbn/s1600/DSCN0481.JPG" height="147" width="200" /></a>Around the end of my time at Tamarind they had a fantastic graduation ceremony for the PTP students and myself. It was a fantastic night and everyone was really proud of all the hard work we'd done. Bill even got me a trophy! Turns out I now hold the record for the most editions printed by a second year senior printer, which is pretty cool. I realize I'm glossing over a lot of what happened, but it -has- been a while. <br />
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After my time at Tamarind was done I was fortunate enough to be able to work at Takach Press for my last few months in Albuquerque. To say it was a fantastic time would be a gross understatement. Takach is very much a family oriented business and they invited me in as a member of their amazing family, which was great. They even invited me to great family functions and one -very- memorable trip up in Keith Takach's hot air balloon, which very well might go down as my <i>favorite</i> day in Albuquerque, and a great send off to head back to the Midwest.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdc8WlZRteE1RhtDR6uWOYqNogapzHfuMqGB3MYbb1LNz3KbKqrtDvv6_E9aO5RtRr2r-tUDrBK9jiqfSCbNxsKHLYodifTW1rlLnQn5_hS11RRmsW0tCh-3g6EV1cAV5Tnl-QKggxHlxE/s1600/100_8859.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdc8WlZRteE1RhtDR6uWOYqNogapzHfuMqGB3MYbb1LNz3KbKqrtDvv6_E9aO5RtRr2r-tUDrBK9jiqfSCbNxsKHLYodifTW1rlLnQn5_hS11RRmsW0tCh-3g6EV1cAV5Tnl-QKggxHlxE/s1600/100_8859.JPG" height="238" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2wa6r_UzZS8xYRIBKTuaM5CKzGyWIsPKKb2i87jfr26miSCcyvFyuCOjZIAobpcHOP0jXLi506jKj7-IFa9j084v7lj0aULVcu8HJaDZazcd3X_dwG7qHCdWrmMPpZSlX-nkYSfnjWCd3/s1600/100_8921.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2wa6r_UzZS8xYRIBKTuaM5CKzGyWIsPKKb2i87jfr26miSCcyvFyuCOjZIAobpcHOP0jXLi506jKj7-IFa9j084v7lj0aULVcu8HJaDZazcd3X_dwG7qHCdWrmMPpZSlX-nkYSfnjWCd3/s1600/100_8921.JPG" height="200" width="149" /></a></div>
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A few days later I packed up and Brody and I took another cross country trip to DeKalb, IL where I was to start graduate school at Northern Illinois University, but that's another full post, and this one's getting a bit full. So, til next time! </div>
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</style><span style="font-size: x-small;">(This post is going to focus heavily on technical aspects of lithography. You've been warned.)</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA9FIX-nYGh-Ng7bD9J1SnRDVZITUcvERJQtRr9WD3uCgonby-NMQFBdaeyxPZlNF8t7OFLiec07ME-YAPyyG60_ibkubB3GdF-syFvgmg4xA0Lqa8WkWAxT8fNaz0xBjb18cLg35KlY2b/s1600/100_8224.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA9FIX-nYGh-Ng7bD9J1SnRDVZITUcvERJQtRr9WD3uCgonby-NMQFBdaeyxPZlNF8t7OFLiec07ME-YAPyyG60_ibkubB3GdF-syFvgmg4xA0Lqa8WkWAxT8fNaz0xBjb18cLg35KlY2b/s320/100_8224.JPG" width="238" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The plate on the press after roll-up</td></tr>
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In addition to <a href="http://kelliehames.blogspot.com/2013/03/recap.html" target="_blank">the near constant visiting artists and editioning</a> in my spare time I’ve been working on my senior research project. Each
Tamarind master printer candidate chooses a subject that they will study and
write a report on during their training period to be completed in addition to
working with artists. Around the time I started Dwight Pogue from Smith College
in Massachusetts had mailed us a few Century Plates to try out. Century Plates
are a relatively new product Pogue has been developing for some time that are
thicker than aluminum plates, available in a variety of sizes, and are supposed to be re-grainable hundreds of times and hold all the detail of a
regular ball-grained aluminum plate. Needless to say, this would greatly reduce
on the cost (especially to students) while doing multiple run lithographs and
at the cost of nearly one aluminum plate they practically pay for themselves.
Pogue and his students have been testing the plates for some time now using
Pogue’s other products to process the plates (namely, BioSolut as a replacement
for lithotine and acetone, and BioLac for a shellac/lacquer base). I wanted to make sure
that traditional materials like lithotine and traditional shellac worked just
as well. </div>
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What is also pretty awesome about these plates are the three
different ways they can be resurfaced to hold images. The plate can be
“renewed” by removing the old image with lithotine, rubbing with Bar Keeper’s
Friend for a few minutes, rinsed, and rubbed with an abrasive sponge with a
little pile of each kind of grit (80 through 220), and abrading the surface to make the plate
like new. It can be “restored” by removing the old image with lithotine, and
rubbing with Bar Keeper’s Friend, rinsed, and rubbing with just the abrasive
sponge (80 to 220 grit depending on what kind of image is desired). It can also
be “refreshed” by removing the old image with lithotine, and rubbing with Bar
Keeper’s Friend.</div>
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<span style="font-size: x-small;">Material tests on the plate before etching and first roll-up</span> </div>
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My plan is to try each type of resurfacing with a variety of
drawing material: Korn’s pencil 1-5, Stone’s pencil 1-5, Korn’s crayons 0-5,
autographic ink, Stone’s tusche concentrate with a dark, medium and light wash,
Korn’s rubbing crayon in hard, medium and soft, spray paint, sharpie marker,
and industrial sharpie marker. The same materials will be used on each
resurfacing, starting with a “renewed” surface, with a small edition (20
sheets) being pulled in black with a leather roller, and again in red using a
composition roller. </div>
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So far I’ve tried the “renew” method, since the plate that I
received was new without an image on it, I cleaned and grained it according to
Pogue’s method just to ensure it was at a proper “renew” state. My first concern was how incredibly smooth the surface was, despite ‘graining’ it. I
knew immediately that water retention was going to be a challenge, especially
at Tamarind, which not only is in a desert, but also has a ventilation
system that keeps fresh air circulating. <span style="mso-spacerun: yes;"> </span>My first etch was straight tannic acid, moved around for a
few minutes before being buffed in. After an hour the ink was removed with
lithotine and put into a butyl based shellac that we’ve been using at Tamarind
with success for a few years. </div>
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When I rolled up the image I was very pleased with how the
pencil and crayon bands looked. The spray paint and rubbing crayon all went
darker, but I wasn’t <i>too</i> concerned, as that’s pretty typical for those
materials. I had, during mixing, ruined the tusche washes, so I wasn’t too
concerned with those, except for the concentrate flat area. Overall, I was
pretty impressed. I etched it a second time using more traditional method,
since those few areas did go a little dark- gum Arabic over the lights, 50/50
over most of it, and Tapem over the darks. The areas that had gone dark I
etched with Tapem mixed with a few drops of phosphoric acid. </div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGTgWKCnu1G6h_bJI_aJBYy1DqiKJRbDX04PwJLfFi_G5z50wcMzs1iDLVNrXyPJbiBo2HUqnze3dCM1ypYBAITvy5Y_eg8c3ziNw4fSKr6uz9tQxBxyzU1GiG2yOrYpdP9mh9ywgDLQ2j/s1600/100_8264.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGTgWKCnu1G6h_bJI_aJBYy1DqiKJRbDX04PwJLfFi_G5z50wcMzs1iDLVNrXyPJbiBo2HUqnze3dCM1ypYBAITvy5Y_eg8c3ziNw4fSKr6uz9tQxBxyzU1GiG2yOrYpdP9mh9ywgDLQ2j/s320/100_8264.JPG" width="239" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYe72NrfDz5j-2F_3lM9Sn8jY3psAwVIb8ysjaCFLVXhk5cMe_-2nIso2763zBOLq0M8pYGBjXRZc3qPbebGRiMwK9FsuJS3qQdq4zRZoyNVbrEb_t0iSoll8odLfpGLxLYTDaaCap0LNV/s1600/100_8250.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYe72NrfDz5j-2F_3lM9Sn8jY3psAwVIb8ysjaCFLVXhk5cMe_-2nIso2763zBOLq0M8pYGBjXRZc3qPbebGRiMwK9FsuJS3qQdq4zRZoyNVbrEb_t0iSoll8odLfpGLxLYTDaaCap0LNV/s320/100_8250.JPG" width="320" /></a>The true test, however, came in printing the edition. I
wanted to make sure the edition held up during printing, didn’t gain or go dark
in areas, and didn’t scum in the non-image areas. The first few impressions I
pulled looked good except for the darkest areas, which appeared salty. I upped
my pressure a little, added a little more ink, a few more passes in the dark
area and eventually got it to print full. As I suspected I was also having a
lot of problems with the plate drying out extremely quickly. I ended up having
to use a good amount of glycerine in the water to relax it and reduce the dry
out time on the plate. I did notice, too, that the more impressions I pulled,
the more the light areas of my plate were gaining. A quick rub of the area with
my fingertip cleaned it up, but it was a pretty continuous battle, even with a little 50/50 in my water bowl. About half
way through the edition, and after talking with Pogue, I massaged the plate
with some tannic acid to try and clean up the light areas. It seemed to help a
little in the lightest areas, but the mid-to-light areas were still a little
bolder than the original drawing and the first few impressions I pulled. </div>
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The images to the side illustrate three sheets pulled from the
edition- number 2 (top or left), number 10 (middle), and number 18 (bottom or right). Number 2
indicates most closely what the original plate looked like after the initial
roll up, number 10 illustrates the light areas gaining the most before the
massage with tannic acid, and 18 illustrates how the tannic acid had improved
the lightest areas. </div>
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After pulling the twenty sheets in black ink, I changed out
my slab for a Hanco Master Palette Dark Red. Overall, the results were pretty
similar to the end of the black edition after the tannic acid massage. I still
had some areas where it tended to gain (click for a larger view), but nothing too serious. </div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpZFaCxBvV1R_GOcTLBw78MFiPB9VAe1VdU9bJWBXTZ9xQp0vlG7TGdXOMx8H9I01pXE6XIGwe2vsLnUoq_2ZF11usHctVGZ1VJ9kkwhaI4dY5ijB-RMklfAAlE4bh2xXvrnUFZ_PGmKXH/s1600/100_8273.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpZFaCxBvV1R_GOcTLBw78MFiPB9VAe1VdU9bJWBXTZ9xQp0vlG7TGdXOMx8H9I01pXE6XIGwe2vsLnUoq_2ZF11usHctVGZ1VJ9kkwhaI4dY5ijB-RMklfAAlE4bh2xXvrnUFZ_PGmKXH/s320/100_8273.JPG" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The ghost image on the "refreshed" plate</td></tr>
</tbody></table>
<div class="MsoNormal">
After the edition was pulled in the red ink I decided to go
to a “refreshed” state by removing the ink with lithotine, acetone and denatured
alcohol to remove the butyl shellac base, and rubbed the plate with Bar
Keeper’s Friend. The previous image was still a little bit visible, but I wouldn't say it was enough to perfectly trace over. I transfered my previous grid and laid down the same materials as the first test.</div>
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I etched all the materials with tannic acid right before leaving Albuquerque. I'm really curious to see how this "refreshed" plate prints, and if the previous shellac base interferes with the new material. </div>
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<br /></div>
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At the moment I'm sitting in Chicago in a Starbucks, only a day away from the SGCI conference in Milwaukee. If you're interested in these plates, Pogue's students will be doing a demo at the conference on them. If you can't make it up to Milwaukee, you can also <a href="http://www.cspoguegraphics.com/centuryplate.php" target="_blank">check out his website</a> for more information, and even catch a <a href="http://youtu.be/jMxp8AVoVuY" target="_blank">video on YouTube</a> of one of the plates being printed. </div>
<div class="MsoNormal">
<br /></div>
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I'll keep you all updated on my progress! Despite a few little hiccups, I still think these plates have a lot of potential, and I'm excited to use them in my own work soon.</div>
Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com1tag:blogger.com,1999:blog-8538189381028220741.post-23701871338944407322013-03-16T17:57:00.002-06:002013-03-26T20:34:16.475-06:00Recap!Wow. What a(n almost) year it's been.<br />
<br />
Let me start from the beginning. After graduation in May, I had a month to re-coop, relax and prepare for what would prove to be an amazing and busy couple of months. I had a day in June to move everything in, clean and organize my press station, and get settled before we had two artists in. The previous year Tamarind had attained funding for a large project that would span a month and a half. Usually it's typical to have just one artist in at a time for one or two weeks. In June and the first two weeks of August, we had two artists in at a time for two weeks each to participate in "Afro: Black Identity in Brazil and America." Three artists of African descent from Brazil, and three from North America were paired up to create work that addressed their heritage and identity as black individuals. Needless to say, it was a huge undertaking, and thankfully Asa Wentzel-Fisher, one of the senior printers from the previous year stayed on for an extra month to help with the first four artists. A group of filmmakers came in to document the collaborations and put out this video about the experience:<br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/j0D36HoZsLY?rel=0" width="560"></iframe>
</div>
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<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8x8jMa8IQ9WA5qk4E8yi6uPjTk8qIl-Tnm-PU68JYaXV_0h_KYSytx55cdSBPWvQKSR_DHfulod5epB54WxORn__tdpCsP1lQVW8hrNdciJaPqLWt_4dDEwlZzi3kkFKerK2EzMYSk4SL/s1600/saarpaulino.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8x8jMa8IQ9WA5qk4E8yi6uPjTk8qIl-Tnm-PU68JYaXV_0h_KYSytx55cdSBPWvQKSR_DHfulod5epB54WxORn__tdpCsP1lQVW8hrNdciJaPqLWt_4dDEwlZzi3kkFKerK2EzMYSk4SL/s320/saarpaulino.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alison and Rosana working on a collaborative piece.</td></tr>
</tbody></table>
The first pair was Alison Saar (USA) and Rosana Paulino (Brazil). I ended up working exclusively with Alison on a large diptych piece where two prints were created, sewn together, and a second layer was printed on a thin Japanese paper, hand cut, painted, then adhered to connect the two. The project was extremely exciting and rewarding, and certainly more challenging than most of what I had done during last year.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2TqG1nmTY7cVwC9drKec8YcTMisRFYBR6tnbjvmLcFjwhAu14YYfbrtINQ9O5I49VFkt1Mu-kGMFtfPTFXVGPzzgG0eigELbaF_XNHnrzTCRjoAyaKu-9DBMwMG3Y9PaYyv-ZMbTjkoj0/s1600/saar.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2TqG1nmTY7cVwC9drKec8YcTMisRFYBR6tnbjvmLcFjwhAu14YYfbrtINQ9O5I49VFkt1Mu-kGMFtfPTFXVGPzzgG0eigELbaF_XNHnrzTCRjoAyaKu-9DBMwMG3Y9PaYyv-ZMbTjkoj0/s200/saar.jpg" width="200" /></a></div>
Alison was an absolute joy to work with, full of ideas, and an extremely hard working artist. Although I didn't get to work with Rosana, I did get to have some nice sit downs and chats with her, and concluded that she was a fantastic, warm-hearted woman, also with great talent. <br />
<br />
<div class="separator" style="clear: both; text-align: left;">
</div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ0HR1q2oWqZhmeBKCgMixstDxs2uV3qQzsjdN0C5lpiwqfApDJ-w6Bdayl4YtSpynQyDYvuerQlaHhmfiTF_x0raNqDInG_fu8QNo58Lvgh8UKedUhJf6Ixg2fZpo5AQEA22f-11tq-kx/s1600/wc.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ0HR1q2oWqZhmeBKCgMixstDxs2uV3qQzsjdN0C5lpiwqfApDJ-w6Bdayl4YtSpynQyDYvuerQlaHhmfiTF_x0raNqDInG_fu8QNo58Lvgh8UKedUhJf6Ixg2fZpo5AQEA22f-11tq-kx/s200/wc.jpg" width="133" /></a>After two weeks Willie Cole (USA) and Tiago Gualberto (Brazil) arrived. Tiago was an absolute joy to work with- energetic, bursting with creativity, and willing to work extremely hard. Willie was very kind, thoughtful, and deliberate about the work he created. Willie's work focused more on self identity, where Tiago's emphasized black identity as a larger overarching theme.<br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRC4ZUwNcz5n5r-jf_O5nr50Ujb7AMUfocNsUmE6IyjpdKkwzHyGNV4NhQLnRZNyKxW6mowbpFQhxo4ePVKbpehLwtat81I37GglMFsDyPPHAUFivuJn0oNBC5er13U1rP8mEsGJsvMdkx/s1600/tiago.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRC4ZUwNcz5n5r-jf_O5nr50Ujb7AMUfocNsUmE6IyjpdKkwzHyGNV4NhQLnRZNyKxW6mowbpFQhxo4ePVKbpehLwtat81I37GglMFsDyPPHAUFivuJn0oNBC5er13U1rP8mEsGJsvMdkx/s320/tiago.jpg" width="320" /></a>Tiago ended up with two prints of paper dolls (or "Pay per dolls" as he titled them), one male and one female that offered a main iconic black figure from classic paintings with different modern clothing that could be cut out and overlayed over the figure. For example, the female one had a central figure and then an outfit to make her look like Oprah Winfrey. He also did two prints of money, one Brazilian note, and one five dollar North American note. For fun he also created a sculpture and several drawings as well. Willie ended up with two personal crests using items that he identifies with, and that have been used numerous times in his work before such as irons, ironing boards, women and fancy shoes. Both finished prints ended up very vibrant and colorful. Or "zippy" as Rodney might call them. <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXIU2IXZ9MTzJ94en9GEXq9Jss3baRi918QBGzQEHxQXUPYqo4L1W5GjvZkMvFMAHlfv7CV7ys8Q4PC0qvSB13EQdXqFKIhZPa6_tOPB9xLGUiYJb6C1aBl3tZau5ggjLLzeH26mkpxoVl/s1600/sydtoy2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXIU2IXZ9MTzJ94en9GEXq9Jss3baRi918QBGzQEHxQXUPYqo4L1W5GjvZkMvFMAHlfv7CV7ys8Q4PC0qvSB13EQdXqFKIhZPa6_tOPB9xLGUiYJb6C1aBl3tZau5ggjLLzeH26mkpxoVl/s400/sydtoy2.jpg" width="266" /></a>The third and final pair of Sidney Amaral (Brazil) and Toyin Odutola (USA) came a month later during the first two weeks in August. These two were also an absolute joy (notice a theme?) to work with. Toyin was lively, friendly, exuberant and extremely talented. Her work is a twist on classic portraiture. Toyin takes images of herself, family and friends, lays down a vibrant pattern of colors, then goes over the top with black, creating a finely-detailed, muscle-like structure that blocks out most of the color, except where it shines through, creating a woven like texture over small strips of vibrant color. The results are phenomenal, creating an intricate, beautiful pattern that speaks of a depth and beauty rarely seen in most portraits.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwo5WLFP0FYw-6JpJ6tuifoXwPjLkZDtmZmZfjMfPirvX5GG-BQDOe3nvlNpnyuQIk79CTk4QX9gLpQ0H9QPzQQMXpiOMHdgQBiVBS67GPoMqA_QdiyF9SppK1I1Fo0cxd8iQK0MieASgw/s1600/sydprint.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="142" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwo5WLFP0FYw-6JpJ6tuifoXwPjLkZDtmZmZfjMfPirvX5GG-BQDOe3nvlNpnyuQIk79CTk4QX9gLpQ0H9QPzQQMXpiOMHdgQBiVBS67GPoMqA_QdiyF9SppK1I1Fo0cxd8iQK0MieASgw/s200/sydprint.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bill and I pulling the last run on Sidney's proof</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Sidney was absolutely amazing as well- kind to a fault, warm-hearted, easy to laugh, and a terrific draftsman. Sidney and I worked on two prints together, both using small areas of color with beautiful drawings on top. Sidney's work utilized elements of Yoruba tradition and mythology, as well as objects associated with Brazilian culture. Some of the best times, though, were the last day these two were here, when we got to take the day off and travel up to Santa Fe to look around and do some touristy things like trying on silly hats, and window shopping. Toyin has <a href="http://tobia.tumblr.com/archive/2012/8" target="_blank">a great tumblr account</a>, and back in August documented her time at Tamarind. Overall, the project was a great experience. It was a lot of work, but it was great collaborating with such fantastic people, and creating some really amazing prints. The video above shows interview with all of these artists, statements about their work, and a rare glimpse at all the prints that were created during their time here. Not all the prints are up for sale yet, but will be soon on <a href="http://tamarind.unm.edu/" target="_blank">Tamarind's website</a> if you're interest in any of them.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPjUsbLhIGt4JRljZJs4B3wMxCQUb3z53MUUGeqid8H7joGrqqrS4wHNG7Zd4XZ_PON-HSTrr4IQ8kjD99Kwes9kT9DtgaBqFeNAne-Iuw0HnlfvdSVBHDQvQWjIkEzk_aRQC9dk3tt0CM/s1600/baptisteprints2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPjUsbLhIGt4JRljZJs4B3wMxCQUb3z53MUUGeqid8H7joGrqqrS4wHNG7Zd4XZ_PON-HSTrr4IQ8kjD99Kwes9kT9DtgaBqFeNAne-Iuw0HnlfvdSVBHDQvQWjIkEzk_aRQC9dk3tt0CM/s400/baptisteprints2.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Steve, Jean, Marge, me, and Lily with Jean's prints</td></tr>
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The month of July was especially exciting. Bill went up to Washington to print with Jim Dine for the month, which meant I got to work exclusively with any artist that came in, hang out with the summer workshop group, and catch up on printing some editions. For a few days we had Jean Baptiste Apuatimi, her manager Steve Anderson, and Steve's daughter Lily in the studio. Jean was from the Tiwi Islands, off the north coast of Australia, and was one of the eldest indigenous artists working in the area. She and Steve and Lily traveled to New Mexico because Jean had several of her paintings in a show in Santa Fe. Since they were relatively near Tamarind, Jean was invited in to create a few prints despite only being there for a few days. This meant we had to work quickly, which was no problem for Jean! In the short amount of time she was here we worked on five prints, proofed on a few different papers. The four prints we ended up editioning also had to be finished before Jean left the country, which left me with my work cut out. I was happy to do it, though, and Jean, Steve and Lily were wonderful company, and it was great to learn about Jean's community. Around the end of their visit I took a trip up to Santa Fe to see the opening of the show at <a href="http://chiaroscurosantafe.com/" target="_blank">Chiaroscuro</a> where Jean's paintings were being shown. It was tradition for an elder of the community to "dance in" a welcome for the paintings, and Jean performed this dance. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaV6Np2gYX-IbvlIGs7YlAErX6WiKiVDUb96bNRtlK6jY6ViW_xH0d2InPVtcXgK9xTLkBryqZ0okFyPf_JbPEsK97ubjImm1A3ekgM8v9dIENR-O0dgfD_DYTFCrJkz4SdXTCHpQ0XrS8/s1600/jeanbaptiste.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaV6Np2gYX-IbvlIGs7YlAErX6WiKiVDUb96bNRtlK6jY6ViW_xH0d2InPVtcXgK9xTLkBryqZ0okFyPf_JbPEsK97ubjImm1A3ekgM8v9dIENR-O0dgfD_DYTFCrJkz4SdXTCHpQ0XrS8/s320/jeanbaptiste.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jean "dancing in" the paintings at Santa Fe's Chiaroscuro</td></tr>
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Another fantastic part of July was getting to meet the aluminum plate summer workshop class. Like the printer training program, this class is open to eight students (though this year only had seven) and they come from all over the world to take a month long class from Rodney. I never got to participate in this class, so it was interesting to see the difference between the summer class, and the printer training program. I think the biggest difference was the sheer amount of demo's the summer class had! Every day it seemed like a new demo. With no deadlines or projects there was a much more relaxed atmosphere to the whole thing. The group was more international than our PTP class as well, with two girls from Australia, one from Ireland, one from Canada, and three from the USA. Everyone was enthusiastic, excited to be there, and willing to work hard every day. It was a lot of fun getting to know all of them. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsbi9HCFW8fvclQlM1_X6QHyFH_YY8by6dj997tHl01oQ1W8ThhcT_Q6OARsefGMVZBraUuxkxzipXkJqf38wogxX4GO84ty6RSYez-1d_aZ7pjEpiOJyouX74H0WfaxH5wuPaXAwx8qn0/s1600/P7300853.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsbi9HCFW8fvclQlM1_X6QHyFH_YY8by6dj997tHl01oQ1W8ThhcT_Q6OARsefGMVZBraUuxkxzipXkJqf38wogxX4GO84ty6RSYez-1d_aZ7pjEpiOJyouX74H0WfaxH5wuPaXAwx8qn0/s400/P7300853.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Summer class 2012</td></tr>
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One of the funniest things was seeing this!:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN5zGm6liYcuQluQYxeGxrvlGN_4_uPN_UgsY4n7LJXXqrqtISg31vUnnuZ0j6NzrDs0Jx_W0Lk-WEljzvDB2gbnm5wN1D8SHBG6ZJSHS6vPVAZxSxX22Cy1qj_5flzfSleNTi35s1kJOx/s1600/sharing7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN5zGm6liYcuQluQYxeGxrvlGN_4_uPN_UgsY4n7LJXXqrqtISg31vUnnuZ0j6NzrDs0Jx_W0Lk-WEljzvDB2gbnm5wN1D8SHBG6ZJSHS6vPVAZxSxX22Cy1qj_5flzfSleNTi35s1kJOx/s320/sharing7.jpg" width="320" /></a></div>
Look familiar?<a href="http://kelliehames.blogspot.com/2009/10/day-of-dead-steamroller-printing-at.html" target="_blank"> One of my very first blog posts covered steam roller printing at the Plains Art Museum in Fargo</a>. Dave Machacek, a member of ArtOrg in Northfield, MN participated in the summer class and brought in this little beauty. In the pictures from my early blog post Dave is the one driving the steam roller. What a small world, right? <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia93otGDqmrFxvtnbz5YLMoNZqJQP_bBQ3-Rd3nQSfIKYOgdbpD3w19lHHLzlHTZ1CjyK1BCwsLmtYa-txsEw6wHxvmrarwn2hbPJda-ZRBX1mI6463hW_Xf6QcVk1SxGPiZLh_-FiK6An/s1600/alex.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia93otGDqmrFxvtnbz5YLMoNZqJQP_bBQ3-Rd3nQSfIKYOgdbpD3w19lHHLzlHTZ1CjyK1BCwsLmtYa-txsEw6wHxvmrarwn2hbPJda-ZRBX1mI6463hW_Xf6QcVk1SxGPiZLh_-FiK6An/s320/alex.jpg" width="320" /></a></div>
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The end of July was spent working with Alex Cerveny, a lovely Brazilian artist who made some beautiful, delicate drawings with me and Bill. Here he is with his awesome magnifying headpiece working on <i>Nasografias. </i>Here's a <a href="http://tamarind.unm.edu/editions/cerveny_img.html" target="_blank">link</a> to show the finished project, as well as the print Alex and I worked on entitled <i>Human Nature.</i><br />
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The following month or so after Toyin and Sidney left was dedicated to
catching up on printing editions, including the work from the Brazilian
project, and a few gigantic prints <a href="http://tamarind.unm.edu/editions/lopez_img.html" target="_blank">Nicola Lopez</a> had created earlier with senior printers from last year Alex and Asa. Did I mention they were huge? Because they're huge. And amazing.<br />
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<tr><td class="tr-caption" style="text-align: center;">Printing the last run on a 12 color print for Nicola Lopez.</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjICd9JvrxYroE4emaVOEoTJ6segrfqZ-xlJI-qPoCjmD9qshEUy6WN551ZQ1q1G2hciycMME9-nOKJS6g5WqmOX7Qcjjsi93vsRV1bysyGa8YUzloI6-EHe9KtEiawrqU4KLfdqfaBv4Cy/s1600/100_8168.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjICd9JvrxYroE4emaVOEoTJ6segrfqZ-xlJI-qPoCjmD9qshEUy6WN551ZQ1q1G2hciycMME9-nOKJS6g5WqmOX7Qcjjsi93vsRV1bysyGa8YUzloI6-EHe9KtEiawrqU4KLfdqfaBv4Cy/s1600/100_8168.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjICd9JvrxYroE4emaVOEoTJ6segrfqZ-xlJI-qPoCjmD9qshEUy6WN551ZQ1q1G2hciycMME9-nOKJS6g5WqmOX7Qcjjsi93vsRV1bysyGa8YUzloI6-EHe9KtEiawrqU4KLfdqfaBv4Cy/s320/100_8168.JPG" width="239" /></a><br />
When we had mostly caught up on pulling editions Bill and I decided to tackle one of our biggest obstacles, a 48 page book (12 sheets, printed front and back, and folded in half= 48). Thankfully the planning, layout and most of the plates were already finished, which just left pulling the editions. One of the challenges, though, was making the book cohesive despite two printers (me and Bill) printing it. This meant that Bill had to match my ink film, and I had to match his. It was a huge undertaking that took about two months of each of us printing every day to complete. The end results were stunning. The book is still in the process of being bound and finished, so I don't want to post too much about it. I will, however, show you how happy Bill was when the last page was completed.<br />
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Sooo happy!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhni7ri9tI_NhN5dIIjl2vIPe_L3DsrGE9kbCAYMrRY6ReTbm11ScesTBkdJhgL3LRYklXawl6tNxUHCw68yPKHHz8zbWarC1FposJ2Kav9MfhXfbuLyTebWTEVqZu1oMUsfgAYnKwLXwvu/s1600/100_8181.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhni7ri9tI_NhN5dIIjl2vIPe_L3DsrGE9kbCAYMrRY6ReTbm11ScesTBkdJhgL3LRYklXawl6tNxUHCw68yPKHHz8zbWarC1FposJ2Kav9MfhXfbuLyTebWTEVqZu1oMUsfgAYnKwLXwvu/s400/100_8181.JPG" width="400" /></a>One of my favorite encounters (in an long list of favorite encounters) was meeting <a href="http://gendronjensen.com/" target="_blank">Gendron Jensen</a>, a contract artist who has been coming to Tamarind for many years. His work is jaw-dropping gorgeous, detailed and intricate. Gendron draws bones, exclusively, often collecting his own specimens in the field, and arranging them into new shapes. The three prints on the table in this picture is the triptych he created during his most recent visit, depicting a representation of King Arthur (middle) and two of his most trusted men (on either side) using wolf bones. Gendron is one of the kindest people I have ever encountered in my lifetime. We had many conversations about the importance of love, creativity, and appreciating the little things in life. I know many of the students were also impressed and touched by his warmth and good-naturedness during his visit.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTmZiVdg6tx9AV92gzM8EwsvcbOushNiRnt8wncyzFBl0pjy5J2Y0ZLVs5mKvBv9gboYpYcU6FADrFCK39qJ-ThJxzdwqMZ6TlT7psHXnW0WE-GMv1BBCjW9p1mbKrqBzoWCr0bhxZLCet/s1600/ballantyne.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTmZiVdg6tx9AV92gzM8EwsvcbOushNiRnt8wncyzFBl0pjy5J2Y0ZLVs5mKvBv9gboYpYcU6FADrFCK39qJ-ThJxzdwqMZ6TlT7psHXnW0WE-GMv1BBCjW9p1mbKrqBzoWCr0bhxZLCet/s200/ballantyne.jpg" width="150" /></a>Gendron was the last artist of 2012 that I worked with. 2013 has already brought with it three new artists- Chris Ballantyne, Matt Magee, and Allison Miller. Along with the ocassional monoprint artist, a large research project and a side project with Garo Antresean, I've definitely been keeping busy.<br />
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<a href="http://www.chrisballantyne.com/" target="_blank">Chris</a> was only able to stay for one week, instead of the usual two, but in that time still managed to create a large five color print, and four two color smaller prints. A good amount of work for just a week! I was really drawn to Chris's work. It had a kind of quiet surrealism to it, and was fairly minimalistic while still being representational. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoNnfgA3Zx2QlzBjKNlaPOmELqQRKF9kUc8O0Yz2rDvsJPPnatNqIQqqDpZPyWSTxzeqS0ad9SljU8pbNIr8j5cSFqY2oJM-TYZbB9O_Dl6EBdrGGdBeiXJTkV9vdaqm9x1gnnss3ijcj4/s1600/mageeprints.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoNnfgA3Zx2QlzBjKNlaPOmELqQRKF9kUc8O0Yz2rDvsJPPnatNqIQqqDpZPyWSTxzeqS0ad9SljU8pbNIr8j5cSFqY2oJM-TYZbB9O_Dl6EBdrGGdBeiXJTkV9vdaqm9x1gnnss3ijcj4/s320/mageeprints.jpg" width="320" /></a></div>
Shortly after <a href="http://www.mattmagee.info/" target="_blank">Matt Magee</a> visited and brought with him a whirlwind of printing. Matt knew exactly what he wanted to do, and was willing to work hard with Bill and I to get it all finished. In the two weeks he was here we created -EIGHT- prints with Matt! Here's an image with three of them completed on the wall, which Bill, Matt and I look at the outline for another 12 color image. Matt had a great sense of humor, was extremely kind, and was another one of those artists just bursting with creativity, making not only a ton of prints, but filling his time by making other drawings, paintings, and even some small sculptures in his free time.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqldiKYgUR59WjAqYBfcKE141VXFCb6IZq9PmO9DK45nVB27JwXkxLZ32NZPWJGO4YrGYn4gB4s8Y2LVnQpsAjQ8aiCU0w6GyV4zbx_ae5VawZPvvHbF-MEJDgPWkNgARw8JmsnI46Nhf3/s1600/100_8218.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqldiKYgUR59WjAqYBfcKE141VXFCb6IZq9PmO9DK45nVB27JwXkxLZ32NZPWJGO4YrGYn4gB4s8Y2LVnQpsAjQ8aiCU0w6GyV4zbx_ae5VawZPvvHbF-MEJDgPWkNgARw8JmsnI46Nhf3/s320/100_8218.JPG" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Color mixing for Matt Magee</td></tr>
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The latest artist I got to work with was <a href="http://allison-miller.net/" target="_blank">Allison Miller</a>, an abstract painter out of LA, who often incorporates pattern or almost decorative elements and combines them with a large overlaying object (often black or dark) that covers up a portion of the image. Like <a href="http://allison-miller.net/work-entries/jungle-strip/" target="_blank">this one for example</a>. Allison doesn't plan out her paintings, and works very intuitively, which was very interesting to watch. She was a lot of fun to work with, and had a great, easy to get along with personality, which makes any collaboration a joy. Allison and I ended up working on a large 12 color print during her visit, while she worked with Bill to create several monoprints utilizing acrylic paintings and printed elements. Unfortunately I don't have any pictures from her time here. She was a little camera shy, and I respect that.<br />
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Well, that's about it for collaboration update! Like I said, the next few months should be just as busy and exciting. Check back in a few days for an update on my research project (re-grainable Century plates from Dwight Pogue) and in a few weeks for a recap of the Southern Graphics conference in Milwaukee, WI. It's my first time attending an SGC conference, and I'm really looking forward to it!<br />
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<span style="font-size: xx-small;">*please note, most of these images were used with permission from <a href="https://www.facebook.com/TamarindInstitute" target="_blank">Tamarind Institute's Facebook page</a>, please do not re-use them without permission</span><br />
<br />Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com3tag:blogger.com,1999:blog-8538189381028220741.post-76790707546773983522012-05-17T20:28:00.000-06:002012-11-27T07:32:37.391-07:00Every End is a New Beginning<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjciwhdcOs50XwW5vU9mzbrpdjfAKfPUuftImI-AE992ENn0TaYbJNhfRVNpNaGGKMaCkLhEVMznNwFMrlPn_drj2jkBi3YNLDEdhG46mv0G74FdcdBhPzuNu5WcEsZId6a2Kl_eHhga85-/s1600/seniorletter.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="111" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjciwhdcOs50XwW5vU9mzbrpdjfAKfPUuftImI-AE992ENn0TaYbJNhfRVNpNaGGKMaCkLhEVMznNwFMrlPn_drj2jkBi3YNLDEdhG46mv0G74FdcdBhPzuNu5WcEsZId6a2Kl_eHhga85-/s400/seniorletter.jpg" width="400" /></a></div>
So, this happened.<br />
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It's been more than a month and I'm still pretty stunned. Excited- elated even, but still stunned. Each year Tamarind takes eight students from all over the world to train in the PTP (printer training program) and from those 8 they choose one or two to stay on for another year as Senior Printer Fellows, who then work with Master Printer Bill Lagatutta, collaborate with professional artists, and become certified Master Printers themselves. This year they chose one person. And they chose me.<br />
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I don't have any pictures of the letter opening ceremony, but it went down something like this- Marge told us we'd get our letters Friday, April 13 at noon and that we could take the rest of the day off to process, re-coop, and/or celebrate. Around 11:30 we were all pretty jumpy, and, having finished my work for the day, sat anxiously at the computer watching COPS. Awesome, I know. Rodney had told us the week before they only be taking one person, so we knew ahead of time what to expect. Sure enough, noon rolls around, Marge comes down, gave us a small speech, thanked us for all our hard work, and handed out the letters. I got through the first two lines, realized it wasn't a rejection letter, and burst into happy tears. Following that, after a few phone calls, the rest of the day was just smiles, hugs, high fives and celebratory drinks. <br />
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As of last Friday my time at Tamarind as a PTP student has come to an end. I realize I haven't been keeping up with my posts as well as I should, and there's a lot to cover since my last update. I've been thinking about the best way to remedy this and my solution is this... mini posts! Lots of pictures with a cut down on the words- because let's face it, words are overrated and everyone likes pictures.<br />
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<u><b>COLLABORATION 5</b></u></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNXCDSHPD3_iaGdx46mprdAPbTfxN5sJgAYQ9QWax13UFgaBuDvvAXiDZdCGVXe6bl9xpfxBAFi_79MICr35SOuXM6VjkrazEWxMm37VilpLd7lHqYJsj5gjG3fKZ9enMjOJUr5xiLy5x3/s1600/100_7322.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNXCDSHPD3_iaGdx46mprdAPbTfxN5sJgAYQ9QWax13UFgaBuDvvAXiDZdCGVXe6bl9xpfxBAFi_79MICr35SOuXM6VjkrazEWxMm37VilpLd7lHqYJsj5gjG3fKZ9enMjOJUr5xiLy5x3/s200/100_7322.jpg" width="200" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy-h33QGnpuoCBguQub5I-5qsHuwljK1lySgmJKumnJsSb77_DG3egB-xjUourSlxPBQ0D-KDxQbTyBllz6lg37UMC1gKGPdWLG0H4cG2qV-RlMn4sHdYep0X6n5y2oItNQ5v_LdawDmbR/s1600/100_7328.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy-h33QGnpuoCBguQub5I-5qsHuwljK1lySgmJKumnJsSb77_DG3egB-xjUourSlxPBQ0D-KDxQbTyBllz6lg37UMC1gKGPdWLG0H4cG2qV-RlMn4sHdYep0X6n5y2oItNQ5v_LdawDmbR/s320/100_7328.jpg" width="320" /> </a></div>
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My collaboration #5 was with Scott Sutton, an architect graduate student from UNM who had previously helped out at Tamarind during our <a href="http://kelliehames.blogspot.com/2011/11/eggs-darkrooms-crayons-and-craziness.html">crayon making demo</a> by providing the molds. Scott was also supposed to give a demo on ink making using natural pigments but the funding fell through. Most of the collaborations Scott did throughout the class were based on the area he was studying for his thesis work, a stretch of land along the Columbia River in Oregon and the native population that once lived there before the dam was constructed. For our collaboration Scott decided to do a map of this Celilo area, outlining where the agriculture, river, forested areas, and various villages and important landmarks fell. We sat down together and discussed what information had to go on each plate so that we could overlap primary colors to create secondary colors. I then mixed up two pallette for Scott to look at- a more vibrant set and a more muted set (seen above). We both decided the muted was the way to go, and after a few trial proofs, pulled the edition. The registration had to be spot on, otherwise the whole thing would look off, but overall the whole thing went off without a hitch. </div>
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<tr><td class="tr-caption" style="text-align: center;">"Celilo Map" by Scott Sutton</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<u><b>Santa Fe- Letterpress Museum and Landfall Press</b></u></div>
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<tr><td class="tr-caption" style="text-align: center;">James Bourland demonstrating one of the Chandler and Price presses.</td></tr>
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Around the end of April we were invited to Santa Fe's Palace of the Governor to the see the Palace Press Letterpress Museum. James Bourland was kind enough to tell us about the museum, the collection of work produced at the Palace Press, and show off the beautiful antique presses the museum has collected over the years. </div>
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Our visit didn't last long, and after a brief look at the History Museum's exhibition and a quick lunch we meandered our way over to <a href="http://www.landfallpress.com/">Landfall</a>. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU1nQ_s3M0mcX6U95hTjUx-M2E8nYXMEDvOU70slmwkHwe-p5sKA0UNHV4zBGJpRUaRZP3I4RhacreO-BuhOGs05NCPB9giP610F3leu-urrZPcpJCjzxiEw5LpKM7I-uhJ6-VmiNLXmny/s1600/100_7480.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU1nQ_s3M0mcX6U95hTjUx-M2E8nYXMEDvOU70slmwkHwe-p5sKA0UNHV4zBGJpRUaRZP3I4RhacreO-BuhOGs05NCPB9giP610F3leu-urrZPcpJCjzxiEw5LpKM7I-uhJ6-VmiNLXmny/s320/100_7480.jpg" width="238" /></a></div>
So maybe we got lost for twenty minutes trying to find the place, but it was all worth it when we walked in the door and saw -this-. An antique Marinoni press from Paris that Toulouse Lautrec once printed on. It was huge, beautiful, and very, very impressive.<br />
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Landfall is run by founder and president Jack Lemon and director Stephen Campbell, two legendary printmakers originally out of Chicago that came to Santa Fe in the early 2000's. They were kind enough to show us their brand new building, and even gave a dry run of the Marinoni press (no ink, no water, just demonstrated how the print gets run through the press). For such a big machine it was amazingly quiet, and demonstrated quite the feat of teamwork, since it took three people to handle the paper. <br />
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The rest of the shop was equally impressive, with high ceilings, flying tympans (that is, tympans suspended from the ceiling), and oodles of John Wayne memorabilia. Jack and Steve were fantastic hosts and made us all feel very welcome. <br />
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<tr><td class="tr-caption" style="text-align: center;">Jack Lemon telling Rodney to stop that strange girl from taking so many pictures. Or pointing out something interesting, it's hard to tell sometimes.</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKkKc-pCKfbuHDCcomVdJPoPhHNxXFuMScQfqCW17Mx63n-IxVKYmttbQMIkRiDfpAkN2jcL1MqoGTZxbVb-_JjhlafwMA7TtlDFvCriMy6q6BvcDDVEdlwXj4hyphenhyphenu0CAxA0LnkjFhIGKv3/s1600/100_7481.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKkKc-pCKfbuHDCcomVdJPoPhHNxXFuMScQfqCW17Mx63n-IxVKYmttbQMIkRiDfpAkN2jcL1MqoGTZxbVb-_JjhlafwMA7TtlDFvCriMy6q6BvcDDVEdlwXj4hyphenhyphenu0CAxA0LnkjFhIGKv3/s320/100_7481.JPG" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1z4wRqoeuuKr65_1YxGujF_CUN8envLiRYBB96-H3Y0BJcQZ-VywN4XSr2BWzMAIXtNYx62LcxC1o1c_tIbC7tnPbu28XxeVUl12gVMCIHH9pQ-phSeMDONP4uW1BFFH9jyxuMOe_Ol0t/s1600/100_7465.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1z4wRqoeuuKr65_1YxGujF_CUN8envLiRYBB96-H3Y0BJcQZ-VywN4XSr2BWzMAIXtNYx62LcxC1o1c_tIbC7tnPbu28XxeVUl12gVMCIHH9pQ-phSeMDONP4uW1BFFH9jyxuMOe_Ol0t/s200/100_7465.jpg" width="149" /></a></div>
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<span style="font-size: x-small;">(Above: an overhead view of the right side of the shop, and Steve Campbell talking with Marvin)</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Easily my most favorite thing in the shop.</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: black; font-size: small;">Following Landfall we took a trip to the Second Street Brewery and managed a great photo-op with Rodney before checking out the Santa Fe gallery scene, sitting in on a lecture given by Bill Lagatutta, Jack Lemon and Steve Campbell about collaborative printing and the idea of a "Master Printer" before finally calling it a day. </span></td></tr>
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<u><b>Collaboration 6 </b></u></div>
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My sixth and final collaboration was with Rachel Cox, a graduate student studying photography. Rachel knew pretty quickly what she wanted and had her imagery all sorted early on. She knew she wanted a large, full-sheet bleed print that was mostly blacks utilizing photos she had taken and then manipulated of her grandmother mirrored. When we first started the project we ran into some problems printing the films to shoot the photo plate, getting them dark enough and printing smoothly enough that there weren't any banded lines on them. My initial thought was to print them inverted and create a negative diazo plate since I hadn't done one last semester, we still had the material, and it would save on toner without having to worry about the image appearing "striped" from the printer. Then Rodney mentioned we have a collection of negative plates that were donated to Tamarind and that I was more than welcome to use those. Oh, and that they were 20 years old. And might not work. And might make me cry. Thus begins- the struggle. The first challenge was to find the exposure time (which ended up being at 130 seconds, versus the 25-30 seconds of a usual positive plate), find out if the negative developer still worked, how long to rock it or if it needed to be scrubbed (yes, slowly, and scrubbed) and then figure out how to print the thing without it all filling in. That last part was the real challenge. The plate mostly stayed open with a leather roller, but as soon as I had to go to a rubber roller or a grabbit roller (a textured rubber roller that is supposed to simulate a leather roller) the whole image filled in and looked terrible. The added challenge of printing a large black image into bare paper didn't help things either. After nearly a week and a half of struggle and problem solving Rodney and I decided to use ProSol, an old chemical bichromate agent that hardens in light and keeps the negative areas open. We then hit it with TrueBlue, another old chemical agent that deep cleans the printing areas. This miracle combo was just what that plate needed. I also decided to print a transparent base first so the black ink wasn't being sucked up into bare paper. It meant less ink had to be used on the second run (the black) so delicate areas didn't fill in and get overrun with ink. I don't have many images from this collaboration. After the edition was printed and I realized I had enough to make my number I took my frustration out on the plate and forgot to photograph it (oops). In the end, however, the results made up for the difficulty. Pictures really don't do justice to the velvety soft black, and really subtle tones of this print, it's absolutely beautiful in person.</div>
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<tr><td class="tr-caption" style="text-align: center;">By Rachel Cox</td></tr>
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<u><b>Graduation!</b></u><br />
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<tr><td class="tr-caption" style="text-align: center;">Rodney and Marge giving out the certificates and totes!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Senior printer Alex getting his certificate.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Going to miss these ladies! Kim Michalak, Nina Dine and myself</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Certified!</td></tr>
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<br />Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com0tag:blogger.com,1999:blog-8538189381028220741.post-51909894834168543872012-03-30T16:31:00.001-06:002012-03-30T16:32:25.533-06:00Collaboration 4 and Breaking Bad<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOSTQP7GN4xG5zsphq2G0XV8Hhe4NtAc5QcpMFnxT1l1YM64ct66yFH7IiNlQ64MlX91Wfo4YVn761rdRbIsL12vOrR1S1vF71f5EKFQ8qO3XZfxK2uwaZhMGTDm8q4ZWgJg4XNU0wnL3D/s1600/eliz.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOSTQP7GN4xG5zsphq2G0XV8Hhe4NtAc5QcpMFnxT1l1YM64ct66yFH7IiNlQ64MlX91Wfo4YVn761rdRbIsL12vOrR1S1vF71f5EKFQ8qO3XZfxK2uwaZhMGTDm8q4ZWgJg4XNU0wnL3D/s320/eliz.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Working on the limestone</td></tr>
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So apparently there's this thing called "March Madness". Word on the
street it has something to do with "sports". Both of these things are
fairly foreign to me, but I like the sound of "March Madness" and for me
and my next collaborating artist it was "March Mastic Madness". That's
right folks. Barnes's mastic resin asphaltum reduction once again! Not
just once-but twice!<br />
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My next collaborating artist was Elizabeth Sobel, an undergraduate student from UNM with an amazing drawing style. For her previous projects Elizabeth built up her image to create rich blacks and subtle grays, and based on her past images I thought working reductively to pull out her brights and highlights would be faster than building them up. This was also the first time we had three weeks to complete a project instead of the two we had before. I knew that most of the time allotted for the project would go toward creating the image itself because of the detail and the size- a full sheet 22" x 30". <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitdTfyuUd6lhl-ikpm6CxzQIeYra4XhJLAynEGZMNk-LHARuo_SaNZmvAkS_6vurK8ibTViOmkjeSHNhcOBDfa70f4Pd-5cA39cpUlfwHHkLq3ddu88dabbdIEuRiYnqKEWgG46c9RiKA4/s1600/bloghomesick.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitdTfyuUd6lhl-ikpm6CxzQIeYra4XhJLAynEGZMNk-LHARuo_SaNZmvAkS_6vurK8ibTViOmkjeSHNhcOBDfa70f4Pd-5cA39cpUlfwHHkLq3ddu88dabbdIEuRiYnqKEWgG46c9RiKA4/s400/bloghomesick.jpg" width="258" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAe913eWt6oStiYR1kihT-pKdBqNbydoDneuTit43NZnuiRtPI3cHXwfRBvnZTPCQ605xUhHHf-Q47dmePu3j7Us0_5rU9l7q3bOrsGsWKulEm13UJp3NSpCbCLl8e97WnACLVms-kSmxk/s1600/maniere.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAe913eWt6oStiYR1kihT-pKdBqNbydoDneuTit43NZnuiRtPI3cHXwfRBvnZTPCQ605xUhHHf-Q47dmePu3j7Us0_5rU9l7q3bOrsGsWKulEm13UJp3NSpCbCLl8e97WnACLVms-kSmxk/s320/maniere.jpg" width="240" /></a></div>
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So, while Elizabeth was working on her image I started a small project of my own using the same method. This way I'd have something to work on, wouldn't make Elizabeth feel rushed, and would get to try out a few new things with the process that she could potentially use in her own image- including painting back in with the asphaltum mixture, and mixing it with mineral spirits. The end result was a three-run print with two plates in the background- a light green and a white on cream paper with the key printed in dark brown.<br />
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<tr><td class="tr-caption" style="text-align: center;">The completed image on the stone</td></tr>
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All things considered, Elizabeth's image turned out infinitely better than my own. :) Here's her image on the stone before processing and rolling up in black. She was a little concerned about the image being too bright, but I assured her the change from brown to black, combined with the slight filling in of really light areas made with steel wool would result in a much richer, darker final image.<br />
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We trial proofed three different colors for the background- a light tan the color of the limestone, a darker tan the color of the limestone when wet, and a murky green. The lightest tan was on a different kind of paper that had too much of a texture, but the dark tan and the green looked beautiful. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtG9fNIB8cvXPw16ZVt60nfrOkZeB0hO-VBBRiSCV2LZRq9vWgLqzb1EfR9J_gIKZyW22HIasBZ4wMWg92OIKjHmMjWpG0Bh0vDkjix8g-3aGgBc1d_6-qWmfnkBhWhdAoe7rX5lRwPFw2/s1600/tan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtG9fNIB8cvXPw16ZVt60nfrOkZeB0hO-VBBRiSCV2LZRq9vWgLqzb1EfR9J_gIKZyW22HIasBZ4wMWg92OIKjHmMjWpG0Bh0vDkjix8g-3aGgBc1d_6-qWmfnkBhWhdAoe7rX5lRwPFw2/s400/tan.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Trial proof with tan background</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfrdgGCWUOYuLlNgT1x5G6I0DVe_a5hwRg-JpqkXEcWLeQZfUQCiKjQeSfnjxdKWnjRBmEg2Kz40R6474pc7m4UIaUfRJUTsq8vfY2CGuj6A9E3flAJdDMurifdm-CZOYO1TVd_JD4fdtI/s1600/green.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfrdgGCWUOYuLlNgT1x5G6I0DVe_a5hwRg-JpqkXEcWLeQZfUQCiKjQeSfnjxdKWnjRBmEg2Kz40R6474pc7m4UIaUfRJUTsq8vfY2CGuj6A9E3flAJdDMurifdm-CZOYO1TVd_JD4fdtI/s400/green.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Trial proof with green background</td></tr>
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Personally I liked both and could see the edition going either way. Ultimately Elizabeth decided she liked the warmth of the tan better, and the edition was pulled with her approval. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK0l3zpObj1sdLlFF0ARj1GmAU-UETm6Q64ZlXLp8KGzCNGDRZ9nj5pYBcSPnpv0RlcNDx1NtMWp1Lvg7_mtO5LuzcXuq5NQSU-vs-UL-iBboaP6Sj16iHEeictCK24vWlWrd-h-Nvenh-/s1600/100_7247.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK0l3zpObj1sdLlFF0ARj1GmAU-UETm6Q64ZlXLp8KGzCNGDRZ9nj5pYBcSPnpv0RlcNDx1NtMWp1Lvg7_mtO5LuzcXuq5NQSU-vs-UL-iBboaP6Sj16iHEeictCK24vWlWrd-h-Nvenh-/s320/100_7247.JPG" width="320" /></a>In other news a gentleman came by Tamarind to give us notice they would be filming AMC's "Breaking Bad" next door at the Denny's last week. As you can imagine they don't do a lot of filming in Fargo, so I camped out for a bit to watch the action that day. There wasn't a whole lot to see since most of the action was happening inside, but we did spot Aaron Paul who plays Jesse, and got to see this awesome "methebago" as Richard dubbed it. No idea what's going on, but once the final season airs it'll be great to see it and scream incoherently at the TV "I WAS THERE THAT DAY!" <br />
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</div>Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com0tag:blogger.com,1999:blog-8538189381028220741.post-31097376950012151542012-03-24T15:04:00.000-06:002012-03-30T16:33:18.709-06:00Las Vegas and Collaboration 3<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKMBcWc9utcsv03e1e_QQrGF2OkjQLoNXJtRz_CjqnHxMT0AbZ49PjBNsDgQUYSNpqdQavs61vmnDVbkMm6_byozTkY5cZsuLjeu6HM8xydjJw_JBEUbbyERKN7rQC6QdDTSr6l_LcmLbm/s1600/100_7002.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKMBcWc9utcsv03e1e_QQrGF2OkjQLoNXJtRz_CjqnHxMT0AbZ49PjBNsDgQUYSNpqdQavs61vmnDVbkMm6_byozTkY5cZsuLjeu6HM8xydjJw_JBEUbbyERKN7rQC6QdDTSr6l_LcmLbm/s320/100_7002.JPG" width="239" /></a></div>
So round about the time of my last post I got an email from Michael Barnes inviting me and my fellow classmates to attend a small printmaking conference where he was lecturing in Las Vegas, NM. Considering <a href="http://kelliehames.blogspot.com/2010/11/mid-america-print-conference-and-week.html">the amazing technique</a> I picked up the last time Barnes did a demonstration at I immediately said yes. Come the morning of the conference around the crack of dawn as many people as possible crammed into my car and we took off on the two hour drive to Las Vegas to make it to the conference by nine. <br />
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Overall, the conference was great and consisted of a few presentations from artists on their work and technique, followed by a gallery opening and several demonstrations. The biggest room was the intaglio studio (pictured), which was fortunate since a majority of the demos were geared toward intaglio- including solar plate, monoprint woodblocks, gel medium tra<span style="font-family: inherit;">nsfers, viscosity printing, and bleached prints. As a group of litho nerds this meant we politely watched and stored this info away for future use, but also spent a good deal of time in between demos snooping through the lithography classroom. During the lunch break we decided to explore the town a bit, walking to the downtown area and checking out the antique shop</span>s, thrift stores (where cats sit on tiny chairs), and the pizza parlor with calzones the size of a human head. While walking we passed a suspiciously familiar looking hotel, and found out later most of "No Country for Old Men" had been filmed in Las Vegas, and that hotel was one of the main locations. <br />
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<span style="font-size: small;">Around this time all back at Tamarind we switched artists and began working with our third collaborator. My next artist was Joni Tobin, an undergraduate at UNM with an absolutely gorgeous drawing style. Joni showed up with an idea in mind, and in only a few days had her image completed, which meant we got to spend </span>a good deal of time trial proofing, which is excellent because the image really evolved through trial proofing.<br />
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Trial proofing is a time where the artist and printer work together to choose colors, discuss paper options, and (depending if there are multiple plates or stones that make up the image) discuss the order the layers are printed. Joni's image originally consisted of two parts- on one stone she had an image of herself as a child with a floral wallpaper in the background, and on another stone she had an image of her father. Both were executed in an oval shape, which gave the whole thing a very vintage, Victorian portrait kind of feel.<br />
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Joni knew she wanted her image on Kitikata paper (a thin, cream, Japanese paper), which meant we still had color and layer order to figure out. Trial proof 1 was executed with the dad in red and the child in green. Because of the vibrancy of the red the green got a little lost, and didn't quite give the brown in the overlap Joni was hoping for. <br />
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<tr><td class="tr-caption" style="text-align: center;">"Mirror Mirror: Eyes Just Like Your Father" by Joni Tobin </td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Next we tried both stones in different shades of black and Joni was much happier with the result, but still felt it needed a little
more. We ended up making two other plates, one for the red in the
roses in the floral background the lips, and one for the green in the
stems and the eyeshadow. She explained to me that her dad used to be a news anchor, and when she was young she went with him once to the studio and witnessed people putting make-up on him before he went on air, and this print represents an exaggerated depiction of that memory. </div>
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<br />Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com0Albuquerque, NM, USA35.0844909 -106.651136734.8765949 -106.96699369999999 35.2923869 -106.3352797tag:blogger.com,1999:blog-8538189381028220741.post-57262650044759427992012-02-18T17:24:00.001-07:002012-03-24T15:13:50.641-06:00January and February at Tamarind- Collaborations 1 and 2<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJheY36YEXHp3ydG0sWVVT_ubRXYhhaUkE838rTdiMZ9qEn-SL05vGelQBWcQYuNCgz_x4aNcAXhO3fatbMXxBfU9jk0dyzzd3zxWyzDMrxfo7Zpp5QlZe2qemiQ8Ho_9fsGDtUcy7R0Qx/s1600/kovach.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJheY36YEXHp3ydG0sWVVT_ubRXYhhaUkE838rTdiMZ9qEn-SL05vGelQBWcQYuNCgz_x4aNcAXhO3fatbMXxBfU9jk0dyzzd3zxWyzDMrxfo7Zpp5QlZe2qemiQ8Ho_9fsGDtUcy7R0Qx/s400/kovach.jpg" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Flying of the Bulls" by Jamie Kovach</td></tr>
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I think I mentioned in my last post about the collaborative nature of this new semester at Tamarind. Our first three collaborations rotate on a two week basis, and our last three on a three week basis, which means in this limited time we meet with our artist, allow them time to create an image, and pull trial proofs for paper, colors, and layers until the artist is happy with the result. We limit the trial proofs to four just to stay on schedule, and because sometimes too many options just becomes confusing. Once an artist has a trial proof they like they sign is as the ATP or Approval to Print. The edition (the size is up to the artist, again, with a limit of 15 to stay on schedule) is then pulled and matched to this ATP. <br />
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So my first collaboration was with a graduate student at UNM named <a href="http://jamiekovach.com/">Jamie Kovach</a>. Jamie mostly worked in photography and recently in painting in the style of paint-by-numbers, and while she had done some printmaking in the past, she hadn't done a lithograph. Because of this I thought it important to get her involved in the process more than just shooting a photo plate, so we transferred the image to ball grained plates, and split it up into three runs. One for the blue of the sky, one for the bulls, and then the key.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBk4G0zsJtbJF-P6tMtSVPhJjNBVH-niQ7_x9WwpvhSiEPHj_9ieVWs1G4dLsR8HW4hz9sss3_w81CLR_seFqMhfoCBGcbXsBwLGHLkuZbYcOZanmLqoQ_z5-1D8WAvb9nZzhS0d1FwzvW/s1600/Sobel.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBk4G0zsJtbJF-P6tMtSVPhJjNBVH-niQ7_x9WwpvhSiEPHj_9ieVWs1G4dLsR8HW4hz9sss3_w81CLR_seFqMhfoCBGcbXsBwLGHLkuZbYcOZanmLqoQ_z5-1D8WAvb9nZzhS0d1FwzvW/s320/Sobel.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Elizabeth Sobel's print</td></tr>
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Overall, I think for the first collaboration it went very well. Jamie was very easy-going and fun to work with, and I loved the sense of humor she had in her work. To the left is the finished print "The Flying of the Bulls." You know, like the running of the bulls. But more extreme. And with zeppelins. <br />
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To make life a little easier my classmate <a href="http://schoolofflatrocks.blogspot.com/">Richard</a> and I have been working together, so I get to see and be a part of the collaborations he's working on as well. I won't go so much into detail, but I did want to post a picture of his artist's, Elizabeth Sobel, first print. Elizabeth did a two run print, a tone plate in the background, with stop outs for the figures in front, and the key in black. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2x8kquKa48ELG0LJqJg5g92fkTL9tK8cmo2i2j-Ksn9IPAdS5rPus1TH82Dnd4JNTzaMqwJRu7Mkg5XepaEG5mneI6XAyBFDE0FXnTptd-c3NGpKO6NWtYkmj3QOX_4C33sujt7eXj5nc/s1600/sands.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2x8kquKa48ELG0LJqJg5g92fkTL9tK8cmo2i2j-Ksn9IPAdS5rPus1TH82Dnd4JNTzaMqwJRu7Mkg5XepaEG5mneI6XAyBFDE0FXnTptd-c3NGpKO6NWtYkmj3QOX_4C33sujt7eXj5nc/s320/sands.jpg" width="239" /></a>In between projects we still have a few demos from Rodney. Our first was on the huge Steinmesse & Stollberg (S&S) flatbed press. Rodney had us pulling flats one day, and mono-prints the next day. The whole experience was pretty cool. That press is gigantic, and a little intimidating, but very impressive. We've yet to fire it up and run it automatically, but Rodney tells us it's loud and awesome. <br />
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<tr><td class="tr-caption" style="text-align: center;">Richard inking up the plexiglass on the S&S</td></tr>
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<span style="font-size: small;">I missed the second day mono printing on the S&S, but luckily we had another day for mono printing on the regular </span>Takach presses. The idea was the same- ink up a plexiglass and run it through the press.<br />
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<tr><td class="tr-caption" style="text-align: center;">Marvin added some Fresca, and Rodney pulled the print- clearly his finest work to date.</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Back to collaborations! My second two week collaboration was with Marcos Polaco. Before we even began Marcos and I had talked about doing a maniere noir style print for the key, and I suggested Michael Barnes's method because it was easier to reduce and it was something new for Marcos to try since he had done quite a bit of litho in the past. We originally pulled three trial proofs with a blend for the sky and a blend in the supporting plate in the background, with the key on the stone. </div>
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<tr><td class="tr-caption" style="text-align: center;">The first three trial proofs</td></tr>
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After seeing the colors in the proofs Marcos decided the green was too vibrant, and didn't marry well with the areas in front where the paper showed through. A fourth trial proof was pulled with just the sky and the key, but upon seeing it and talking a little more we decided not to abandon the second plate all together and instead just create a color a bit darker than the paper to give it some definition, but not be so stark a difference that it took away focus from the key plate. This last trial proof then became the ATP. </div>
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<tr><td class="tr-caption" style="text-align: center;">"Sleeping Giant" by Marcos Polaco</td></tr>
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Marcos put a lot of time into the key, and the results were beautiful.</div>
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<tr><td class="tr-caption" style="text-align: center;">The image on the stone before etching and processing</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Detail of some of the bushes in the foreground</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Sponging away the gum to reveal the crackle effect</td></tr>
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<br />Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com0tag:blogger.com,1999:blog-8538189381028220741.post-50239704610104505052012-02-03T11:34:00.004-07:002012-03-24T15:08:41.058-06:00Semester 2 (Electric Boogaloo)<P>
Sorry. I can't help but make a Breaking II Electric Boogaloo reference whenever possible.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjER7S60M9vGfXV0VGTzBVf3Z0RKGZb7Mr2GI3nNlyZeNDOGAmUYygAHicg5QzXY37sMGVVhrpYRWUqkTAszjCmibJX-oK3ltaKcXCRJnLkOiEnbmiCmBW2_KAvjICYP1aW8LEWM6WoWAhn/s1600/100_6671.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjER7S60M9vGfXV0VGTzBVf3Z0RKGZb7Mr2GI3nNlyZeNDOGAmUYygAHicg5QzXY37sMGVVhrpYRWUqkTAszjCmibJX-oK3ltaKcXCRJnLkOiEnbmiCmBW2_KAvjICYP1aW8LEWM6WoWAhn/s320/100_6671.JPG" width="239" /></a>A lot has happened since my last post. The year ended with a few more big projects, including an introduction to photo plates, converting those plates to waterless, and a big three color reductive stone. </div>
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Before arriving at Tamarind I had never seen or used photo plates. We did a four color separation on the computer and printed out films for cyan, magenta, yellow and black, exposed those mylars to the photo plates and printed each plate individually. The real challenge came in perfectly registering each mylar, and printing a correct ink film- too lean and the image looks spotty; too heavy and the image feels weighed down. <br />
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Overall though, they turned out beautifully, and I felt comfortable enough using them that over the winter break I took a trip up to Fargo and did a workshop at MSUM for a few students who were still around. <br />
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However, what I really loved was the three stone reductive method. I've come to realize reductive work is one of my strengths, and I was eager to try <a href="http://kelliehames.blogspot.com/2010/11/mid-america-print-conference-and-week.html">Barnes's method</a> again at a larger scale (nearly full sheet). For this process three primary color runs were printed and overlapped to create a variety of colors, including browns and black.<br />
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<img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYuNTp6AriZ4UYfyXAqGoso_Ens2QErNBDhytd5CT3TR-RBeXGZdJfFbX5I11mm4wcje8RAMMZNPVEgD2txBLq9PrkTJ54_XHd_gmKsBP3q2QPfI6skBgauRSNfItsjooq_inHNvd8N7dy/s200/yellow.jpg" width="138" /></a>
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Yellow first, then red, then blue. I prepared a stone, reduced all the areas I wanted to keep white, and all the areas that didn't have yellow in them (purple, pure blue and pure red for example). I pulled the whole edition in yellow, then altered the stone, removing all the areas I wanted to keep yellow or that didn't have red in them (like green), and added areas that had red but not yellow and printed red over the yellow. The same was done with the blue. It may sound a little complicated, but with some planning on what needs to stay and what needs to go it was fairly straightforward, and the result was beautiful.<br />
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So this was the last project of the semester. Spring semester has been much different than the first. First semester focused on demos and techniques, and the second involves working with and printing collaboratively with graduate (and a few undergraduate) student artists from across the street at the University of New Mexico.<br />
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In December Rodney interviewed interested students, and seven were chosen to work with the seven of us printers. So for two to three weeks we're paired up with an artist and print an edition with them, up to four runs. Since this entry is getting a little long I think I'll save my next post for my first and second collaborations. Til then!<br />
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</center>Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com0tag:blogger.com,1999:blog-8538189381028220741.post-46767373190463913502011-11-20T21:52:00.002-07:002012-05-26T10:15:44.256-06:00Eggs, Darkrooms, Crayons and CrazinessThis week has been one of those "Let's try every process under the sun" kind of weeks. Monday was egg albumen, Tuesday was negative diazo, Wednesday was Dolphin litho transfer paper, Thursday was crayon making, and Friday was caran d'ache. Friday was a short day and we took a trip to Rodney's house for dinner and a chance to relax.<br />
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So... Monday! Both egg albumen and negative diazo are negative printing techniques where a negative is exposed over an emulsion base. The negative is then exposed to light and any area not covered become black. Egg albumen utilizes strained egg whites mixed with ammonium dichromate and coated on a stone as a base. Exposure can be done either out in the sunlight (for approximately 1 minute) or under a grow light (pictured) for anywhere from 10-15 minutes depending on the temperature, the thickness of the negative being exposed, the thickness of the egg coating, the strength of the bulb, etc. etc. Basically, there's a lot of variables to consider, and the failure rate is... above average.<br />
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My first attempt failed. I had used two negatives and aligned them to make the toner thick enough and I think the tape at the sides made the negatives buckle, hence the dark/burned spots in the image. Luckily, the egg comes off easily, so back to the graining sink and time to try again. Luckily attempt number two was a success. <br />
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<span style="font-size: x-small;">Attempt 1= Boo.</span></div>
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<span style="font-size: x-small;">Attempt 2= Hooray! </span></div>
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Negative diazo was similar in theory to egg albumen. Diazo coats a plate, a negative is exposed to light, and turns white areas black. The result was a nicer resolution than egg albumen, but sadly the materials are no longer available.<br />
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<span style="font-size: x-small;">Rodney with the diazo on the plate (left) and the egg albumen on the stone (right).</span></div>
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<span style="font-size: x-small;">My classmate Richard's diazo plate. </span></div>
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Wednesday brought with it Dolphin litho transfer paper. Transfer paper was originally used in the early days for <i>en plein air</i> drawings. An artist could easily transport a sheet of transfer paper, do a sketch on site, and return to the studio to transfer the image to a stone. Because there is a loss of detail from the transfer paper to the printing matrix (plate or stone) it often has to be reworked or added to. Transfer paper has a type of emulsion on the surface of the paper that, when dampened becomes tacky and releases, kind of like a temporary tattoo. The emulsion dries for a few minutes after transfer and then is gently wiped away, leaving only the drawing material. </div>
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<span style="font-size: x-small;">Rodney with his awesome transfer of Santa Claus and Mr. Potato Head riding a convertible in the forest. :) </span></div>
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<span style="font-size: x-small;">The start of my own drawing on transfer paper.</span></div>
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Everything was going smoothly until I decided to try a gum stop out over my crayon drawing to protect against solvent washes- I didn't want the washes to bleed into the crayon. Unfortunately when I transferred the paper to my stone the gum lifted out all the crayon it had been protecting and left me with a big ol' splotchy mess. A little counteretching and subsequent crayon work and I had a useable image again. </div>
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<span style="font-size: x-small;">The transfer on the stone after reworking.</span></div>
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Undoubtedly the highlight of demo week was crayon making. Fumes, chemicals and fire filled the air as we melted together ingredients to make our own crayons. A local artist also lent us his crayon molds, so the final product looked incredibly legitimate too. </div>
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<span style="font-size: x-small;">Rodney mixing together the ingredients. </span></div>
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<span style="font-size: x-small;">Pouring the concoction into the molds.</span></div>
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He used it for this demo. </div>
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We all had what Rodney referred to as "Leavingitis" and decided it was a bad idea to do a demo when we were heading to his house so soon, instead we abandoned caran d'ache for spaghetti and meatballs. </div>
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</a></div>Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com2tag:blogger.com,1999:blog-8538189381028220741.post-60077922502991472282011-11-13T22:41:00.004-07:002011-11-20T23:27:46.225-07:00TamarindWhy, hello again. For the last few months I've been trying to decide how and when to get back into updating this blog. Today, I feel, things have come full circle since my last post and it's time to brush off the cobwebs and start again.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGbBv4WAjCxxCVVK-tI2SdGRN5JFcRyPTdvbtSCbg21KgLLB430LNj3RuVaTDhTE6mpSEGMLGDCEvsQekrw9MfbyUSpiCI4e48sv6IEAEeATGPOigdcvT10N5dVG-KpjK_8yEjHjQQfOBH/s1600/studentside.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGbBv4WAjCxxCVVK-tI2SdGRN5JFcRyPTdvbtSCbg21KgLLB430LNj3RuVaTDhTE6mpSEGMLGDCEvsQekrw9MfbyUSpiCI4e48sv6IEAEeATGPOigdcvT10N5dVG-KpjK_8yEjHjQQfOBH/s320/studentside.jpg" width="240" /></a>A lot has happened over the last few months, almost all of it for the good. I finished my applications to graduate schools, got accepted to a few, and made my decision when I received my acceptance letter to the <a href="http://tamarind.unm.edu/">Tamarind Institute</a> in Albuquerque, NM to participate in their printer training program (PTP).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxdZsxaRB0oUbMIiKS97pbaSTlJ-dWXNNWargPUbu7YNoULTTpb2h3GXr85pjTqQsJk3Fr-kyhbPVU6cPJ6MZufz4pydYa2GAO91swNruTfua6a56AZHmAsCRxpMns5_UUrJBgi8WD2ILN/s1600/proside.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxdZsxaRB0oUbMIiKS97pbaSTlJ-dWXNNWargPUbu7YNoULTTpb2h3GXr85pjTqQsJk3Fr-kyhbPVU6cPJ6MZufz4pydYa2GAO91swNruTfua6a56AZHmAsCRxpMns5_UUrJBgi8WD2ILN/s320/proside.jpg" width="240" /></a>For the past 50 years Tamarind has been at the forefront in reviving the art of lithography in the United States. Prior to Tamarind, lithographs produced in the states were basic, black and white lithographs created by a select few printers. Artists hoping to make anything of real quality, or involving color needed to travel to Europe. Founder June Wayne realized the need for a program like Tamarind that would train master printers to work in the US, and to restore the prestige of the medium. With funding help from the Ford Foundation June founded Tamarind Lithography Workshop in Los Angeles, and 10 years later affiliated with the University of New Mexico where it became the Tamarind Institute. This is the bare basics of the history of Tamarind, their website has a bit <a href="http://tamarind.unm.edu/aboutus.html#history">more on the subject</a> and a link to a fantastic article by Clinton Adams where he writes about the early years of Tamarind.<br />
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Today Tamarind invites eight students a year from around the world to participate in the PTP. These eight students go through the year long program, with the first semester dedicated to improving technical skills, and the second semester dedicated to working collaboratively with graduate students from the University of New Mexico. After the year long program one or two students of the original eight are selected to participate in the Master Training Program for another year, after which they are certified as Master Printers. Many of the lithography workshops around the USA, and several around the world are operated by Tamarind Master Printers.<br />
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To be part of such an amazing and prestigious program still leaves me speechless.<br />
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For the past 12 weeks I have lived lithography. The days are long, have their ups and downs, successes and failures, but when all is said and done there's nothing else I'd rather be doing. The first few weeks were spent doing technical tests: crayon drawings on stone and plate, tusche washes (both with water and solvent) on stone and plate, counter-etching, flats, toner, etc. etc. To go into detail on all of these would- 1. Take forever and 2. Be redundant, as my classmate Richard has already done a fantastic job, and I'll just link you to his blog- the aptly named <a href="http://schoolofflatrocks.blogspot.com/">School of Flat Rocks</a>. :)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimWlIln2qqomH2mKkwcqb8zW070JmOfy2PQLQCNfsMocNsPOd73VDQnIt9k1MI89mEkAKIeJ3JVtxTsdnFeYOllBZQa7hl8MZZEHVpYhJnQlRik7FThCiN6yCBgGnyc89ueyrNFVajg-eo/s1600/Rodneyblend.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimWlIln2qqomH2mKkwcqb8zW070JmOfy2PQLQCNfsMocNsPOd73VDQnIt9k1MI89mEkAKIeJ3JVtxTsdnFeYOllBZQa7hl8MZZEHVpYhJnQlRik7FThCiN6yCBgGnyc89ueyrNFVajg-eo/s320/Rodneyblend.jpg" width="231" /></a>Around week 7 things got really interesting. The technical tests behind us, we began working on putting them to use, and working collaboratively with other PTP students, first in black and white, and then in color. We then moved to large format prints, and Rodney (my instructor, and the education director) taught us the professional way to do a blend roll. A -huge- blend roll at that. Next came some less traditional techniques including maniere noir, acid tinting and chine colle. I was especially excited about maniere noir because it allowed me to try another stone using <a href="http://kelliehames.blogspot.com/2010/11/mid-america-print-conference-and-week.html">Michael Barnes's method</a> of asphaltum reduction, which none of my fellow students had seen before.<br />
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For this stone I wanted to try a few of the techniques Barnes had mentioned, but I hadn't attempted before, such as painting in asphaltum additively, and leaving gum on the stone to produce a "crackle" effect, which I used for the background. <br />
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Even though I would be printing this in black, I still found it much easier to scratch through the asphaltum base versus black ink (which tended to clog up) or a tint field (which proved difficult to etch without burning). Printing this stone went infinitely better than <a href="http://kelliehames.blogspot.com/2010/12/asphaltum-lithography-print.html">the last time</a>. Some of the extremely delicate marks filled in, but overall printing was a breeze and I was extremely happy with the results. <br />
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The prints laid out (the last print pulled on the left, the standard on which all the prints pulled are compared in the center, and the first trial proof on the right).</div>
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</div>Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com3tag:blogger.com,1999:blog-8538189381028220741.post-80835074764808619462010-12-08T18:59:00.000-07:002010-12-08T18:59:09.636-07:00Asphaltum Lithography PrintAfter the <a href="http://kelliehames.blogspot.com/2010/11/mid-america-print-conference-and-week.html">MAPC conference and Michael Barnes's </a>demonstration on asphaltum reduction lithography I was itching to try it out. As soon as I had all the materials and a base rolled out on the stone I began work on an image. It took a little longer than I expected, mostly because it acted like a mezzotint, in that I thought I had a clean, white area only to go back to it the next day and have to "brighten" it back up. Not to mention all those damn little curls.<br />
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</div><div class="separator" style="clear: both; text-align: left;">Since the asphaltum was fairly reflective it was difficult to photograph, hence the wonky perspective. I was a little nervous to print it, simply because I really didn't think the image was going to look as good as it did on the stone- I wish I could have just framed the stone and called it good! </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Long story short, I had quite a bit of difficulty printing. The image filled in a bit, and my attempts to "fix" things just made it much, much worse. Oops. I finally converted it back to a traditional base and managed to pull an edition, but it was a struggle to say the least. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju1UpYQsHeXmybpvR4GLNVhzQBTp1RSGsODTag5XzsVo_RsB8gQ6QKoEAXEkbktHmJkJx4AtpsGsx-4xM7p7KFuT1IsaY29tJ1P72vmiyftDaoFjK6XwsPRppR-6NY4y1A_2dgbkzOQ60Q/s1600/lambprint.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju1UpYQsHeXmybpvR4GLNVhzQBTp1RSGsODTag5XzsVo_RsB8gQ6QKoEAXEkbktHmJkJx4AtpsGsx-4xM7p7KFuT1IsaY29tJ1P72vmiyftDaoFjK6XwsPRppR-6NY4y1A_2dgbkzOQ60Q/s400/lambprint.jpg" width="297" /> </a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">And the print!</span> </div><div class="separator" style="clear: both; text-align: left;"> </div>It was a great learning experience, however, and I've already got a second image underway to accompany this one. :)Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com3tag:blogger.com,1999:blog-8538189381028220741.post-58845589101278042362010-11-27T23:46:00.001-07:002012-03-25T22:43:11.766-06:00The Mid America Print Conference and a week with Carol Wax<div class="separator" style="clear: both; text-align: center;">
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As I alluded to in my last post, a few weeks ago a friend and I drove down to the Twin Cities to attend the three day Mid America Print Conference, put on by the <a href="http://130.101.145.81/">Mid America Print Council</a>. This is a semi-annual event held every two years at various locations throughout the Mid West. The previous time I went was my first experience, and it was right in my backyard of Fargo. I had a blast, and couldn't wait to experience it again. On the agenda were lectures, gallery tours and openings, demonstrations, vendor's fairs, and a multitude of other print-related activities. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEx2viKxGxNGGqpHGEa9tYWPPZ_gJm4DMg_6bSPkADEKCo5i8nXXZ3SCyDK9tLcjkajtB30GFh1pMYxEBWFx31smCatXHCleAv4Sjqza4LyxcVSH6Xn8yoKHyUaaBl4-w7g_PMiAIOkqbn/s1600/highpoint.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEx2viKxGxNGGqpHGEa9tYWPPZ_gJm4DMg_6bSPkADEKCo5i8nXXZ3SCyDK9tLcjkajtB30GFh1pMYxEBWFx31smCatXHCleAv4Sjqza4LyxcVSH6Xn8yoKHyUaaBl4-w7g_PMiAIOkqbn/s400/highpoint.jpg" width="400" /></a>One of the earlier demonstrations I attended was entitled "Extreme Chine Colle" and was put on by the Highpoint Center for Printmaking, a beautiful printmaking studio located in Minneapolis. Here is Cole Rogers, Artistic Director and Master Printer at Highpoint, along with his assistant Zac Adams-Bliss attaching four large pieces of chine colle one on top of the other before placing it on a plain sheet of paper for backing support. The overlay of the chine colle pieces gave a beautiful depth and subtle variation of grays. <br />
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While I enjoyed the chine colle demo it wasn't something I could see using regularly in my work.<br />
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What really got my attention was a reductive asphaltum lithography demonstration by Michael Barnes. Similar to the "maniere noire" or "black method" used in traditional stone lithography the stone is worked reductively to create the image, either by scratching into the stone, using an abrasive, or a solvent.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYFIc90XjwscwrIDRtLv3OR16sLp5NMYrIqQ1V72osvCNmgTYyjthrbw_jWjzrdtiBB-ztMzg58qdZDTgM41i6T9drBLc5cEmuvyjmxgIfu9IqCj_zwkiw4XHbmB878clN1_KGf0hPpibz/s1600/barneslamb.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYFIc90XjwscwrIDRtLv3OR16sLp5NMYrIqQ1V72osvCNmgTYyjthrbw_jWjzrdtiBB-ztMzg58qdZDTgM41i6T9drBLc5cEmuvyjmxgIfu9IqCj_zwkiw4XHbmB878clN1_KGf0hPpibz/s400/barneslamb.jpg" width="400" /></a><br />
The main difference is in the base, which is asphaltum thinned down with mineral spirits instead of a traditional rolled up ink base. What was extremely impressive about this method was the ease of reducing the image and printing various colors. During the relatively short demo, Mr. Barnes processed, reduced, and printed three colors in about the span of half an hour. Also impressive were the extremely soft and subtle effects he achieved.<br />
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Below is a stone he had been working on- you can see the delicacy of the marks. The faint lines over the top are just from the sponge.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ5mB1SgL9PKh8TGz-l4htz3Xeka5ZjGWd8PylH6EKFVdxVY6o2_JPWYR8IDtxaOwWf8WtPF1Gy4N51RzV8pE8vMMl7sCYq50mvjx3lwlVo6hHTsjZpwJnn4nYlqs2ezmDJX0oRR3EDepe/s1600/barnesrabbit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ5mB1SgL9PKh8TGz-l4htz3Xeka5ZjGWd8PylH6EKFVdxVY6o2_JPWYR8IDtxaOwWf8WtPF1Gy4N51RzV8pE8vMMl7sCYq50mvjx3lwlVo6hHTsjZpwJnn4nYlqs2ezmDJX0oRR3EDepe/s400/barnesrabbit.jpg" width="400" /> </a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxfNvkJ_jgAI4LoaEQ3XFLpIU_etXYw8VevmQXR7Y1fa7NJ_XQ-C7IYYphwQW5Xxapx1BeZkS7D10mGdc90HU8n9v-3g3p3agW13BSvnJVFcmXDKZWShXG4ImxvovYGiZ9ELQZkz3OkCmk/s1600/llyonsdamer.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxfNvkJ_jgAI4LoaEQ3XFLpIU_etXYw8VevmQXR7Y1fa7NJ_XQ-C7IYYphwQW5Xxapx1BeZkS7D10mGdc90HU8n9v-3g3p3agW13BSvnJVFcmXDKZWShXG4ImxvovYGiZ9ELQZkz3OkCmk/s320/llyonsdamer.jpg" width="320" /></a>In addition to the demos were various panels, like this one featuring Jack Damer (lithography teacher at Madison) and Beauvais Lyons (lithography teacher at Tennessee-Knoxville). This current discussion was about a survey conducted by Beauvais sent out to members of the MAPC, and generally covered trends in printmaking, generational differences, and teaching. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd6BpTkZH3Zoss17YyOKPLjk3gDqM1QsccIpUXiEmuR7Iy-Syprh_nywxpDifzirGp19XMC5yG2KEAbzLhGlk8InDpjZ10ARB2wbIgIc_OJea9wplabol9nuEWVoXEPmHrR3ikh3pNJLwX/s1600/lloydmenard.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd6BpTkZH3Zoss17YyOKPLjk3gDqM1QsccIpUXiEmuR7Iy-Syprh_nywxpDifzirGp19XMC5yG2KEAbzLhGlk8InDpjZ10ARB2wbIgIc_OJea9wplabol9nuEWVoXEPmHrR3ikh3pNJLwX/s320/lloydmenard.jpg" width="236" /></a>One of the last nights of the conference we took a bus tour to various galleries around the cities. About halfway through the tour we stumbled upon an opening reception featuring the work of Lloyd Menard- the originator of Frogman's Press in South Dakota. Mr. Menard was also honored with the Outstanding Printmaker award this year from the MAPC. It was a real treat to hear him talk about his process, ideas, and changing aesthetics over the years, as well as view a huge collection of his prints spanning over the last few decades. </div>
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Overall the conference was an invaluable experience, and I can hardly wait for the next one. Hopefully I'll be able to attend Southern Graphics next year, which I'm told is like this conference on steroids. Sounds like fun. </div>
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So, as if the conference wasn't exciting enough, two days after returning home I had the honor of meeting and spending time with the one and only Carol Wax. That's right- the woman who literally wrote the book on mezzotint art. She was giving a three day workshop in conjunction with a symposium lecture series put on by Minnesota State University Moorhead art department. Unfortunately I don't have any images to share since she didn't care much for having her picture taken, but over those three days she talked about the history of the medium, lectured on her own work, and gave hands on demonstrations for preparing the plate and how to print it. Like the conference, it was a lot of information to take in in a few short days, but Carol seemed so excited and eager to share her knowledge that it was hard to not be excited. Plus she was just such an interesting and kind person- I feel very lucky to just have met her. :) </div>
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</div>Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com2tag:blogger.com,1999:blog-8538189381028220741.post-50560771113739525742010-10-27T08:30:00.003-06:002011-01-07T05:53:46.374-07:00Franconia Sculpture Park<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVqGEp17L5oCPSFTmQN6hupbCE70v_MHUnNpskPJTU17NCJxNPQvdjcU8ehP9UVwAwOR_bTHfkFADzChIAVmEUd2l9uOG65D-V_W3TZUZhK9oytD4JRjibAWFCNg-HbSTBX-51olAt1EjC/s1600/100_4908.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVqGEp17L5oCPSFTmQN6hupbCE70v_MHUnNpskPJTU17NCJxNPQvdjcU8ehP9UVwAwOR_bTHfkFADzChIAVmEUd2l9uOG65D-V_W3TZUZhK9oytD4JRjibAWFCNg-HbSTBX-51olAt1EjC/s320/100_4908.jpg" width="240" /></a>As I continue work on a post about the Mid-America Print Conference I figure I'll do a quick entry on the <a href="http://www.franconia.org/">Franconia Sculpture Garden</a> first. This little park is located in Franconia, MN just along the border of Wisconsin. It's free and open to the public and regularly has events scheduled to get children and adults interested and involved in the arts, along with providing a work and exhibition space for established and emerging artists. <br />
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I hadn't been there in years, and only visited it again a few weeks ago, but always remembered it being pretty cool. So, my friend Erin and I went to visit it, and just before the conference my friend Shaina and I went again. I forgot my camera the first visit, so all of the images are from the second time around. :)<br />
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Below are just a few of the sculptures at the park. Sadly I forgot to get the names of the pieces or the artists (oops) so I'll let the art speak for itself. Click on any of the images for a larger view. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmVC8jjYnHdoyZoa0U5yRQCQuJ5TCUoiorURtmgVbv0oTx2AfjaouyYzp_RiLGyDmE4_YtTGtYXrnm1-NFDpXAL7G7OGPb6UaRtCpsyvF8XXz6lzekoa_2TuYRvkuU_IyOcj8marS_g0U3/s1600/100_4911.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmVC8jjYnHdoyZoa0U5yRQCQuJ5TCUoiorURtmgVbv0oTx2AfjaouyYzp_RiLGyDmE4_YtTGtYXrnm1-NFDpXAL7G7OGPb6UaRtCpsyvF8XXz6lzekoa_2TuYRvkuU_IyOcj8marS_g0U3/s200/100_4911.jpg" width="150" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjic7lmzfdogyphJDPOROx5B9tg4HOnXdQVFjx049ndnSEmYYXueYTIqFj2FeuvO9GaHFR__A4w2YPSy8Tmnho5dj_YW912lhFuksXMrqhlFDDE_XOn6Vq0PYEW4j3Uidvg2bCTAfemz8VD/s1600/100_4912.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjic7lmzfdogyphJDPOROx5B9tg4HOnXdQVFjx049ndnSEmYYXueYTIqFj2FeuvO9GaHFR__A4w2YPSy8Tmnho5dj_YW912lhFuksXMrqhlFDDE_XOn6Vq0PYEW4j3Uidvg2bCTAfemz8VD/s200/100_4912.jpg" width="150" /></a></div><br />
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</div><div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRJW-xET_fYji4mJnKzmPS4uUo8-oyw0IJV-6Tz6lAHJm_XNqyEQCudW_MlRgKCcwFVhKi1PrNEMbzp-Ad0yd4PoBQVQCIkzShHDovycH68rzPWdtrXnUv0A4-Lo4wb-qRb2dPqdSdctvv/s1600/100_4930.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRJW-xET_fYji4mJnKzmPS4uUo8-oyw0IJV-6Tz6lAHJm_XNqyEQCudW_MlRgKCcwFVhKi1PrNEMbzp-Ad0yd4PoBQVQCIkzShHDovycH68rzPWdtrXnUv0A4-Lo4wb-qRb2dPqdSdctvv/s320/100_4930.jpg" width="320" /> </a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">I really liked this piece. At the end of each wire was a plate, and on those plates were every word in the English language in extremely fine print. </div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;">The following two pieces were my favorite in the park. The first really isn't much to look like from the outside, consisting of black wood with a small entrance.</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"> However, when you go inside and turn the corner...</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">:) The planks inside are probably about two to three feet deep, so you need to walk back and forth to get any idea of what's on the outside. Also being placed outside, the transition from bright sunlight to darkness had a very eerie effect. </div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">My other favorite piece was this suspended, floating shed. </div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCEjsZINjTdsrZ27RokY-5mC9edRm3ciy_LE8kmYEOq097-NVBYXivDrtTFhp93cVkcR8HzAqKg2f0r09RXBKix2mBtwg0DvqfMvwZJi0FHuK8fncx520wsarz1uD_NbLQi7JhtGtY7wvn/s1600/100_4939.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCEjsZINjTdsrZ27RokY-5mC9edRm3ciy_LE8kmYEOq097-NVBYXivDrtTFhp93cVkcR8HzAqKg2f0r09RXBKix2mBtwg0DvqfMvwZJi0FHuK8fncx520wsarz1uD_NbLQi7JhtGtY7wvn/s400/100_4939.jpg" width="300" /> </a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpAa25RJuGQ3NnZg9kQXOhVLGS3PnqyIXyz6dRrosGaj6vDT4ZX3XtQcnr-6aAInMiPI8zUJWEwx_wezQtdmmK8HHTamvWp9D4vZO8OxootrY8f0Kf8FvH8_ncyOyOymXPs67__mR7KCxg/s1600/100_4936.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpAa25RJuGQ3NnZg9kQXOhVLGS3PnqyIXyz6dRrosGaj6vDT4ZX3XtQcnr-6aAInMiPI8zUJWEwx_wezQtdmmK8HHTamvWp9D4vZO8OxootrY8f0Kf8FvH8_ncyOyOymXPs67__mR7KCxg/s400/100_4936.jpg" width="300" /></a></div><div class="" style="clear: both; text-align: center;">and not just because there were duckies. :) </div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div>Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com0tag:blogger.com,1999:blog-8538189381028220741.post-34006572659909375382010-08-26T19:25:00.007-06:002010-11-27T23:50:49.091-07:00The Show and The Aftermath <br />
In the last three and a half months I have: 1. Shown my work in my final BFA show; 2. Graduated college; 3. Moved into a new apartment; and 4. Gotten a full-time job (not in my field, but it's just temporary until grad school, so I'm okay with that). Needless to say, things are changing, and that's both exciting and a little scary. The next few months promise to be nearly as hectic, with the Mid-America Print Conference happening in Minneapolis the end of October, applications for grad schools coming up, and having to make artwork to -put- in those applications. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxyfx65VV-YaROx9tpC0yBXihMvcmBzaolfKSSkWrk2rtfMxeldsxfSpMtCtDfeKJO0zh9vNMAACleWVC-We7sN3eFW-M_gD3drk3uZjH8D7Kb8mYVWKsmF8SGICsnNI0E0u0WHvXzlW9O/s1600/boys.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxyfx65VV-YaROx9tpC0yBXihMvcmBzaolfKSSkWrk2rtfMxeldsxfSpMtCtDfeKJO0zh9vNMAACleWVC-We7sN3eFW-M_gD3drk3uZjH8D7Kb8mYVWKsmF8SGICsnNI0E0u0WHvXzlW9O/s400/boys.jpg" width="400" /></a>Going back a few months though, I have a few pictures from the show to share. The overall theme of the show was the explore the dichotomy of children- maturity and innocence, cruelty and love- cruelty either conducted by children or inflicted upon them. Many of the pieces were inspired by stories from others' childhood experiences, or drawn from my own.<br />
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The gallery manager pretty much allowed us complete freedom when it came to the set-up of the show. I had requested three separate walls because I had three different collections of work- my linocut series, my lithographs, and my 3-D wheel piece. Luckily they were able to accommodate my needs, which was great since cohesion was the main concern that kept coming up in my critiques.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOQbseTvsF4rNSLX4eGYRFEzzQR3bcDKPtgND1sIIUGQ2W_VKL5-NfOcycQ5m-gz2HNgPyQf3Zsh78_kZKlfGrW9MPDmszGlfGTYzhGK7iMDvNR4yTMZNWTLse60m8FhlhruKkh1jMfGwi/s1600/gallery.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOQbseTvsF4rNSLX4eGYRFEzzQR3bcDKPtgND1sIIUGQ2W_VKL5-NfOcycQ5m-gz2HNgPyQf3Zsh78_kZKlfGrW9MPDmszGlfGTYzhGK7iMDvNR4yTMZNWTLse60m8FhlhruKkh1jMfGwi/s320/gallery.jpg" width="320" /></a>On the left wall was my series of three lithographs of the two boys with the cats. The back wall had my four multi-color linocuts, and the right wall had two other lithographs, and a small wall to bring forward the 3-D wheel. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5tcLfk3yHJAE4-xNt2WZVwt3TZS_cttAl69xy2gwXJc37xGDGBfbdVhPa5Qyl97wC0PfRXMCbSdPEJncLXiepYnxEJX5tWG-1P-2fcOcmSghoYuU42VkDTIuBp8dX_pPwdWkpwe3Ho6sX/s1600/thewheel.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5tcLfk3yHJAE4-xNt2WZVwt3TZS_cttAl69xy2gwXJc37xGDGBfbdVhPa5Qyl97wC0PfRXMCbSdPEJncLXiepYnxEJX5tWG-1P-2fcOcmSghoYuU42VkDTIuBp8dX_pPwdWkpwe3Ho6sX/s320/thewheel.jpg" /></a><br />
The whole thing went beautifully, and tons of people came out to support us all, which was great. My family drove up from the twin cities to see it, and my other brother surprised me by flying out from L.A. which was amazing. Needless to say seeing him was a joy, and I got so excited by everyone showing up that I forgot to take pictures... Oops. So the only photos I have of the whole thing are during set-up, which is why it's a little dark, and a little empty. :) <br />
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I realize I haven't talked a lot about my non-linocut works, which is funny since I really think lithography is my go-to medium of choice. Not to mention that it's half of what this blog was <i>supposed </i>to be about (Blocks and STONES). Oh well. There's still time. :) Anyway, further posts will go into more detail about my lithographs, but basically I print on a semi-transparent vellum and combine it with drawings underneath. What I love about working like this is the starkness of the black on the vellum versus the softness of the drawings underneath, especially when using something like chalk pastel which already gives such a rich softness.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN93L2ZajP_T82Na3L06VSYKe3vQBYap0E9QsjS4Sm9n9wHHoMmNUdsr8hnyTC-Gc11VBPQqg5_ZHi1c9NIJHCXMyzfH4tyZeQIkRfmTGmITsFZyxLIFlaa45fqkZ5hJDfRfDJsfaWZOyI/s1600/100_4724.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN93L2ZajP_T82Na3L06VSYKe3vQBYap0E9QsjS4Sm9n9wHHoMmNUdsr8hnyTC-Gc11VBPQqg5_ZHi1c9NIJHCXMyzfH4tyZeQIkRfmTGmITsFZyxLIFlaa45fqkZ5hJDfRfDJsfaWZOyI/s400/100_4724.JPG" width="400" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"></div>Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com1tag:blogger.com,1999:blog-8538189381028220741.post-53690679790769998622010-05-03T14:47:00.002-06:002010-11-27T23:51:17.728-07:00A Long Overdue Update- Linocut IV and Show Invites <br />
Yeah, have I mentioned I'm still new to this blog thing? Sometimes it seems that things get too busy and then this blog just gets pushed to the back burner. However, as I sit here writing the last paper I will have to write as an undergraduate, I imagine summer, and a life "less hectic and gross" as a friend of mine so eloquently put it, and envision a time to fritter away in between work and art. It's close.<br />
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But I'm here now, so let's get on with it, shall we? :)<br />
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I mentioned in my last post that I had found a positively, absolutely, far too scary for pictures doll at the thrift store I frequent. I still refuse to touch the thing, and even as I type this it is sitting in the corner of my studio space tightly encased in a plastic bag. The problem I had with the thing (besides touching it, ew) was not with the doll itself, but my linoleum. For the last three I had been using 9x12 tan Speedball linoleum, mounted on a block. I had purchased some linoleum online, but realized after I bought it that it was unmounted. Turns out it was a touch too small as well. So I had to wait about a week and a half for new linoleum to come in. This, naturally, sent me into panic mode as I planned for this one to have around 30 colors or more like the first two, and I needed to have it done before my show.<br />
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When my linoleum finally arrived I went into overdrive, printing two colors at once, sometimes twice a day if the cobalt would let me. Long story short, I had about a month and a half to get the thing done, and it took all of two and a half weeks. And had 35 colors. Yikes.<br />
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Without further ado...<br />
<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSc2x9DrUuwrhoty_z_I2RAGG_6Mpe158FqtuPVkkkXtr23U5nvTXcExAAF9fWx6rW-w6gW8uHhj2hDwy_WNimW6mwGY6xLTBLnFc4O2Ron3h_9L0Ytz0ssOQNloO0GXngelC2xENJ0sXw/s1600/baby.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSc2x9DrUuwrhoty_z_I2RAGG_6Mpe158FqtuPVkkkXtr23U5nvTXcExAAF9fWx6rW-w6gW8uHhj2hDwy_WNimW6mwGY6xLTBLnFc4O2Ron3h_9L0Ytz0ssOQNloO0GXngelC2xENJ0sXw/s400/baby.jpg" width="295" /></a></div><br />
So I had another few weeks to finish up my other projects and build frames, which was nice. Also during that time I created some invites for my show (which is up at the moment, but I'll save that for another post in the -near- future). I think my favorite was this one...<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy3pf3uxnSk-o3rCd46VqHUZhiFDLdWCVuCDvTrQweTXXjsus-d7U620L3Qiq14aZ0xGOwYYlkTksSSO18hSUGTSOaQQJ41ih4vSeBhychxB-oIwAC5pXSsOY8bMFajkf-tvjPScUgGWjC/s1600/one.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy3pf3uxnSk-o3rCd46VqHUZhiFDLdWCVuCDvTrQweTXXjsus-d7U620L3Qiq14aZ0xGOwYYlkTksSSO18hSUGTSOaQQJ41ih4vSeBhychxB-oIwAC5pXSsOY8bMFajkf-tvjPScUgGWjC/s400/one.jpg" width="400" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"></div>Check back soon for a post about the show!Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com3tag:blogger.com,1999:blog-8538189381028220741.post-60597372066305789002010-03-08T12:39:00.002-07:002010-11-27T23:51:44.999-07:00All My Ducks in a Row <br />
Literally.<br />
The duck linocut is complete! Sorry for the lack of in-progress posts, but this past month has been very busy, and the next two months don't look to be any easier, with the BFA show fast approaching. In all likelihood our town is probably going to flood (again) and close down school (again) and we'll all go sandbagging (again) because somebody didn't invest in proper dikes (again) and the entire show will be postponed til summer... but better safe than sorry.<br />
Aside from the <a href="http://kelliehames.blogspot.com/2010/02/my-print-has-chickenpox.html">chickenpox</a> this whole print went pretty quickly with no major glitches. Last I counted it was around 21 colors, which is just over half what the other two were, but I think stylistically it still fits in with the <a href="http://kelliehames.blogspot.com/2010/01/linocut-update-part-iv.html">other</a> <a href="http://www.kelliehames.com/art/prints/index.html">two.</a><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmh2dHoNKI2TcE_Rqyu10Nd9E1g630Xi9DYGRnlFrXxdE11GM0qXr71vsTP4i4H1a_JUkqeS0VlBG_EBdpq2Zyqrh_23zU14wGHbFI08N6iCt-w3FB7uWRUWPaPUhbTdE_ECYEFVg3i9hD/s1600-h/doneduck.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmh2dHoNKI2TcE_Rqyu10Nd9E1g630Xi9DYGRnlFrXxdE11GM0qXr71vsTP4i4H1a_JUkqeS0VlBG_EBdpq2Zyqrh_23zU14wGHbFI08N6iCt-w3FB7uWRUWPaPUhbTdE_ECYEFVg3i9hD/s400/doneduck.jpg" width="400" /></a></div>I've decided to do one more image in this series before saying goodbye to it. I'm not entirely sure of my next image, but I picked up an old doll today at this amazing thrift store next to the Plains Art Museum where I intern, and I'm going to get some photos of it today. Hopefully it goes well and I can start as soon as my linoleum comes in.Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com2tag:blogger.com,1999:blog-8538189381028220741.post-76826820940732050582010-02-10T14:03:00.002-07:002010-02-12T09:59:21.927-07:00My print has Chickenpox... <br />
So I had a very... interesting* last few days.<br />
I came up with my new image for my next linocut in the series and the first few colors went down without a hitch. My third color I started noticing little shiny spots that appeared that I couldn't explain. Attributing it to not mixing in my modifiers well enough I pressed on. With disastrous results.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVf73weD9iki_zf-C91ODXWXBboe3tYp5mhuLzW79dzFKNQsDVOGmMTlpweq_RHfEuDBDte3kejZUiUhPmwrMP2Xn-6ty1EJIcoSKzgySOVwx7sIxAn5feMysWgWpxQBa5pH5Oc0uDUe23/s1600-h/weirdduck.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVf73weD9iki_zf-C91ODXWXBboe3tYp5mhuLzW79dzFKNQsDVOGmMTlpweq_RHfEuDBDte3kejZUiUhPmwrMP2Xn-6ty1EJIcoSKzgySOVwx7sIxAn5feMysWgWpxQBa5pH5Oc0uDUe23/s400/weirdduck.jpg" width="298" /></a></div><br />
The next color I noticed large shiny spots appearing after a few minutes. Puzzled as anything, I took it to my professor who was equally as perplexed. I printed it as I have been for months- adding cobalt drier, dullit, magnesium carbonate, and a little gelled medium (we're out of miracle gel reducer. Weep). I mulled over the problem for a day or so, trying to figure out what had gone so horribly wrong. My initial idea was there was a problem with the dullit, since only spots were shiny, and others dull. I had also mixed in some of the old ink from the previous color as a base and maybe the modifiers that were in -that- screwed it up. I was confused until I took a close look at the full edition.<br />
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I remembered my first print on newsprint I had forgotten to add cobalt drier, and printed the rest of the edition with it. Out of the 17 prints on good paper, and 3 on newsprint there was one lone newsprint pull that looked just fine. I realized my problem... What <i>exactly</i> went wrong with the cobalt drier I can really only guess at, but the can we have at the studio has a lid that doesn't shut all the way, so my guess is whatever liquid is in there as a base has been slowly evaporating, making the drier more and more concentrated, so adding a good deal of drier like I normally would was actually like adding quadruple the amount, because I also noticed that as the spots appeared they, along with the rest of the print, was already dry after only 10-20 minutes.<br />
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Anyway, lesson learned. I printed the yellow of the duck next, added some linseed oil to sit over the spotty brown, and left out the drier completely. It seemed to work alright, and now I just hope the rest of the colors behave themselves. <br />
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Has something like this happened to anyone else? <br />
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<span style="font-size: x-small;">*Note: I'm a Midwestern girl, and "interesting" is often our way of saying "awful." As in "Wow. That bologna and popcorn casserole you made sure is.... interesting."</span>Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com0tag:blogger.com,1999:blog-8538189381028220741.post-83831355999569928292010-02-05T15:34:00.007-07:002010-02-05T16:18:09.122-07:00Reduction Multi-Color Linocut Tips and Tricks <br />
This post compiles several months worth of learning while doing multiple color linocuts. <br />
These are the things I've screwed up and learned from.<br />
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Before I begin I'll start with a few points on how I work-<br />
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1. I work very opaquely. I can try and answer questions about transparency, but they'd be just educated guesses, not tips from real life experience.<br />
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2. I only print with oil based litho color inks. This means modifiers are in order. Modifiers and I have become close friends. <br />
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<u><br />
<b>THE BASICS</b></u> <br />
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<ul><li>Print with a hard or semi-hard roller. Soft rollers tend to fill in delicate lines. In reduction linocuts you want the ink to sit on top of the block and hard rollers do the trick nicely.</li>
<li>Rolling quickly picks up ink. Rolling slowly deposits it. On your ink slab you want to roll fast to lift the ink, and on the block you want to roll slow to lay it down. </li>
<li>It's sometimes helpful to mix ink the day before you print just to get a feel for its consistency. Mixing an ink loosens it a great deal, and by the time you're ready to print you may find it's hardened or changed quite a bit. </li>
<li>Add modifiers just before you print. Modifiers and time generally don't mix well. Especially cobalt drier...It's fine to mix up your color earlier, but save the additives for later. </li>
<li>When mixing ink and testing the consistency, test with a small 1/2 inch or 1 inch roller. This way you'll be able to see how the ink rolls out without having a big mess to clean up, and you can save your larger roller for good prints. </li>
<li>Blocks can be cleaned with just mineral spirits or vegetable oil and a clean rag. Remember to degrease the block before you print again though, either with denatured alcohol or a household cleaner like Simple Green, especially if using vegetable oil, which tends to be very greasy. </li>
<li>Give yourself plenty of time! The one time you find you need to print an edition in an hour is the one time -everything- will go wrong.</li>
</ul><br />
<u><b>THE INTERMEDIATE</b></u><br />
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<ul><li>Printing on a paper with texture is, in most cases, not the best idea. In fact, I generally stretch my paper on a litho press before I begin (placing the paper on a large block and running it through the litho press, which stretches and smooths the paper). This way if there's a great deal of pressure when printing the block the paper doesn't stretch in the process and cause the registration to be off. Stretching ensures for spot-on registration.</li>
<li>When cutting and registering paper include about 3-4 newsprint pieces that are also registered. This way before printing the edition on good paper, the newsprint paper can act as a test to see how the colors interact with one another, and how the ink sits on top of the previous layer. This way too, there isn't risk of ruining a good pull from the edition. </li>
</ul><br />
<u><b>THE ADVANCED</b></u><br />
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<ul><li>To ensure a nice even coat, roll slowly over the block until it looks as though there is a great deal of ink on the block. Roll out the excess ink on the roller on a clean part of your slab and roll quickly a few times over the block (from different directions) to lift off a little of the excess and unify the coat. Modifiers will come into play with this too, see below (Miracle Gel Reducer in particular) for more...</li>
<li>FAT OVER LEAN....or...GREASY OVER NOT SO GREASY...or...INK WITH STUFF IN IT ON TOP OF INK WITHOUT AS MUCH STUFF IN IT. This is the, the, -the- main thing to know when printing a multi-color linocut. If you find your ink is not sitting over your last layer of ink this is probably the problem. You never want to start out with a really greasy first layer because subsequent layers are going to need even more grease to sit on top. When beginning a reduction linocut I generally don't modify the ink very much- a little magnesium carbonate and cobalt drier are enough. The next layer I'll add a little bit of grease, and a little more to the next, and so on and so forth, but this will be covered more in the modifiers. If you find your ink isn't sitting on top of your previous layer try adding a little grease to it (such as linseed oil). </li>
</ul><br />
<u><b>THE MODIFIERS</b></u> (not all of them, but the most important for this process)<br />
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<ul><li> <b>Linseed Oi</b>l- The main component in oil based ink. Ink is generally just linseed oil and pigment (with a few little things added in). That's it. If you want to loosen up an ink, add some more linseed oil. Add in small doses. </li>
<li><b>Magnesium Carbonate</b>- A white powdery substance that can be added up to 100%. Doesn't alter the color of the ink. Stiffens (or "shortens") ink, adds body, and decreases greasiness. Reduces tack.</li>
<li><b>Setswell</b>- Loosens oil based ink, creates transparency and reduces shine. Thins and softens ink that are too stiff and seem "dry" when printed.</li>
<li><b>Cobalt Drier-</b> The best friend of anyone who needs to print a color a day. Although it's recommended to only add a tiny drop of this powerful drying agent, you can sometimes get away with adding more. I've been known to add a great deal (20-30% in a bind) BUT you need to be ready to print -FAST- because the ink will literally dry on the slab. If adding a great deal only roll out enough ink to cover your roller. In a pile, the ink seems to dry slower, so just take it as you need it. Also, if you add cobalt drier and keep the ink to print again later it -will- work, it just needs to be used within a day or two, and generally loosened up a bit because it will probably have begun to harden somewhat. </li>
<li><b>Dullit</b>- Print too shiny? Hate shiny? Want to murder shiny as it blinds you in the face as you try to photograph your print after it's finished? It's all just personal preference of course, but personally I'm not a fan of shiny prints, give me matte any day. So the solution? Why, Dullit! Add about 10-15% to ink to decrease shininess. Just make sure not to add too much or it'll mix up like concrete. </li>
<li><b><a href="http://www.danielsmith.com/Item--i-284-900-001">Miracle Gel Reducer</a></b>- I've saved the best for last. This little gem is basically the answer to everything. I'm voting for MGR next presidential campaign... Almost any relief printing problem can be cured with a small dose of miracle gel reducer. It reduces body and tack of oil based inks, without increasing greasiness. It makes relief inks release onto paper easier and reduces roller and lap marks on large flat areas of color. Its ability to cure cancer has not yet been proven, but I'm pretty sure it could probably do that too. Side note- there is a counterpart to MGR called "Gelled Medium" but for me it...just isn't the same. </li>
<li><b>Miracle Gel Reducer and Magnesium Carbonate</b>- The dream team. The right amount of the two of these almost always ensures for near perfect consistency. Generally I add magnesium carbonate to give a little more body to the ink (the amount depending on the consistency of the ink to begin with- stiff inks get just a dash, and loose inks get quite a bit), then a bit of miracle gel reducer to decrease the tack. When mixing the ink I generally look to see if the palette knife picks up all the ink on the slab, without leaving a residue. With any of these modifiers it's going to take some practice to know what the "right" consistency looks and feels like, but starting with these two little gems is probably a good place to learn. </li>
</ul>Both the school and the museum I work at order most of its modifiers from either Daniel Smith or <a href="http://www.graphicchemical.com/">Graphic Chemical</a>. In fact, everything except the MGR can be found at Graphic Chemical. They're particular amazing for their discussion board. Because it's a small company they are -extremely- helpful and personable. -ANY- question you have about -ANY- of their products is generally answered within a day or two, usually by the owner of the company. Overall just an amazing company.<br />
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<u><b>THE MISCELLANEOUS</b></u><br />
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<ul><li>Rainbow Roll (or Gradients)- Rainbow rolls are a way of putting multiple colors down in a single pass. Lighter or darker variants of a single color can also be used to make a gradient. The ink it mixed up and put down on the slab one right next to another so that all the colors form a single (or near single, little gaps are okay) line of ink. The roller is then passed over this line of ink, and mixes on the roller. For example, if white is laid down next to a dark blue, the roller passes over the two and a line forms between the two of a new color- a light blue. The roller then passes over the block to create a gradient when printed. </li>
</ul><br />
If the task of printing look overwhelming, just remember- you've only got three things that can really be screwed up: the paper, the press, or the ink. It's got to be one of the three, so don't get discouraged! <br />
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Thanks for reading this far! I hope some of these were helpful and not a complete waste of time. If you have any other questions about the process or problems with printing feel free to comment and I'll try and help if I can. Check back soon for progress on my next multi-color linocut.Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com9tag:blogger.com,1999:blog-8538189381028220741.post-36933799287697781372010-02-05T02:40:00.001-07:002010-02-05T02:45:30.686-07:00Galleries, Lectures, and Internships. Oh my!These last few weeks have been crazy!<br />
I mentioned a few post back that I had some exciting news to share, and here it is! <br />
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Every semester the <a href="http://www.plainsart.org/education/print_studio.php">Hannaher Studio at the Plains Art Museum</a> (one of, if not THE sole working print studio inside a museum) chooses an intern to work with the resident printmaker to help maintain the studio, order supplies, talk to visitors, and make sure the place doesn't burn down. You know, the usual. The position is competitive, and applicants submit a letter of intent and a collection of their images that then get judged by the resident printmaker, (my professor, John Volk) the head of education at the Plains (Andy Maus) and a third party member. I think you probably know where this is going.... they chose me! So a few days out of the week I head over to the Plains and work in the studio, interacting with the public should they wander in, and explaining the mystery that is printmaking. It's pretty exciting, and a lot of fun so far. Problem is it usually closes around 5, and I'm a terrible night owl, so that's taking some adjusting.<br />
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The other exciting news is this past week I helped install a show in the library at my college and gave a lecture with the other <a href="http://msumartdesign.wordpress.com/2010/02/04/excellence-scholarhips-recipients-presented-on-their-artwork/">Excellence Scholarship recipients</a>. Our lecture focused on the progression of our work over the years, and the concepts behind it. Usually these colloquium lectures are full of Freshman students, but there was a great mix of faculty, Freshman, and friends. All in all probably around 100 to 150 people showed up, and the whole thing went over as smoothly as we could have asked for. It was a bit nerve wracking, but a great learning experience overall.<br />
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I haven't forgotten about my last post either, regarding linocut tricks. I'm compiling ideas as I start my third in the series (printed the first color tonight- yay!) BUT I want to hear from you linocut artists out there! What are some problems you run into when you print? What makes you want to stab your paper and throw your can of ink across the studio? Let me know and it might help me compile a more complete list. :)Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com3tag:blogger.com,1999:blog-8538189381028220741.post-58551143899920879802010-01-18T18:17:00.004-07:002010-01-19T18:47:41.007-07:00Linocut Completion! (part IV)Not a big post, but an important one... the dog linocut is done! Done! Finally! The last color was printed yesterday and thanks to about 30% cobalt drier it was torn down and editioned today. I ended up with an edition of 15, with 2 proofs on good paper, and 4 proofs on newsprint, which I mostly used for color and consistency testing to make sure the color not only looked good with the others, but sat atop the mountain of inks beneath it. Overall I'm extremely happy with the result, and especially with how it looks next to the phone linocut. They're a happy little pair. The crazy thing is, after tearing down my proofs of each color I went back and counted how many this one had and found the craziest thing... 36. Again. The phone had 36 as well. This wasn't planned in the least, and I was under the impression it was going to only be around 25 or so. Oops. Oh well, maybe the next one I'll shoot for 25 or fewer.<br />
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Without further ado...<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit1nUlSKZsCNt4bNnC531nel5vXfLhoNyn-fC6KQXtcD-RATSOga6EQSoR-pKiesnt2SgfX7QfLz7U5fWt6gm_V6A3lLhTmHJXLQgH9pDz4HpxTUrx2krq2j_PPGv00_0uAuqoO04fme89/s1600-h/toydog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit1nUlSKZsCNt4bNnC531nel5vXfLhoNyn-fC6KQXtcD-RATSOga6EQSoR-pKiesnt2SgfX7QfLz7U5fWt6gm_V6A3lLhTmHJXLQgH9pDz4HpxTUrx2krq2j_PPGv00_0uAuqoO04fme89/s400/toydog.jpg" /></a><br />
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</div><div class="separator" style="clear: both; text-align: left;">If there's any interest in it as well... I was thinking of perhaps doing a post on tips and tricks I've learned while printing these guys. Namely, ink problems that arise, paper consistency, things of this nature, but I was also wondering if anyone is interested in the real basics of linocut printing? What is a linocut, how to print multiple colors, ways to register the paper, etc. So let me know if you'd like to see something of this nature and I'll share what little bits of knowledge I've learned. :) <br />
</div>Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com4tag:blogger.com,1999:blog-8538189381028220741.post-44610847638125065102010-01-12T22:45:00.000-07:002010-01-12T22:45:29.607-07:00Linocut Update (part III)Hello everyone!<br />
Sorry for such a long stretch of silence, but it's the holiday season- I'm sure you understand. :) I know in my last post I mentioned <i>this</i> post would be about my sculptural piece but... it's not. Instead, I realized I was out of paper (Fabriano Rosapina- yum) to print my little wolves for the sculpture piece so I had to order some and <i>that</i> was on back order, so I decided to keep chugging away at my linocut. And I must say, it's extremely exciting to have the finish line so close now! With the new semester just starting it'll be nice to finish this project finally and move on to new and exciting things (which may or may not include another linocut). Over the Christmas break I took a week to drive home and spend some time with my family, eat far too many cookies, and sit around for far too many hours, but that was finished soon enough and my return to Fargo brought with it a new drive to create some art. I devoted at least a few hours a day to printing a color or two (or four) with each pass and soon realized I only had a few more before it was complete. So yesterday I printed a light blue, and today just finished the darkest of the blues. All it still needs is a few colors in the pull-string and this little puppy is ready to be editioned, signed and framed. Which is great because he'll be joining his little telephone friend in a small exhibit on campus. Check back soon for the finished, <i>finished</i> product, some exciting news, and (eventually, I promise!) a post about the sculpture. Happy New Year!<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwuxc1fM_I1TnPB-z_UPrnqimsOqrqN4pFJYD1f6bvynlDawFJY0F0tGbBHe781hV6dpu2OhWW7PZbIeU3W7EcjCfWLlAAOUw1aTudd0Pgoi092HwnaJW0YM8SjRVGf5jqULM8EVD3JDbC/s1600-h/navyblue.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwuxc1fM_I1TnPB-z_UPrnqimsOqrqN4pFJYD1f6bvynlDawFJY0F0tGbBHe781hV6dpu2OhWW7PZbIeU3W7EcjCfWLlAAOUw1aTudd0Pgoi092HwnaJW0YM8SjRVGf5jqULM8EVD3JDbC/s320/navyblue.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-X6-_HzXd8wllOznCrYAww7lEyBv3atSQQVunssdhUSfkwBSxZEZFhML_F51gLb8uEt4LK1DuzkXGrwwJKIWc911iBL6z5aPfBVJusOGg8lLHD33ayVTvsRJBF0mnuoYtspKkt39fk6QB/s1600-h/background.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-X6-_HzXd8wllOznCrYAww7lEyBv3atSQQVunssdhUSfkwBSxZEZFhML_F51gLb8uEt4LK1DuzkXGrwwJKIWc911iBL6z5aPfBVJusOGg8lLHD33ayVTvsRJBF0mnuoYtspKkt39fk6QB/s320/background.jpg" /></a><br />
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</div>Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com2tag:blogger.com,1999:blog-8538189381028220741.post-34793954205490368562009-11-23T21:28:00.002-07:002009-12-30T08:19:52.265-07:00Linocut Update (part II)<div class="separator" style="clear: both; text-align: left;">Things have been crazy this semester! Between writing mock grants, creating a <a href="http://www.kelliehames.com/">website</a> from scratch, attending and evaluating artist talks, making a digital portfolio, and about nine million other things I've barely had time to pull an edition! During all this, however, I still have been able to put a few more colors down on my linocut. Things are coming along fairly well, I've been masking a lot of the colors to save time and worry less about grease buildup. After color 11 I decided to do another overall color to try and even out the levels. I think another few darker layers on top and it should look quite a bit more uniform.<br />
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</div><div style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicoF4ZAslfkbYSgNhRy1ulWo5IaBVyFUDHtSzPR7q3L9tNkOKfoDu-aARmANykimq1wvOIaAEu-EYcEg1GKZdMzWAFIfBqKbu_Ti49m4hvlD6etK-WShQg4u2yAw7zFTXBlhybQxULP_9I/s1600/11colors.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicoF4ZAslfkbYSgNhRy1ulWo5IaBVyFUDHtSzPR7q3L9tNkOKfoDu-aARmANykimq1wvOIaAEu-EYcEg1GKZdMzWAFIfBqKbu_Ti49m4hvlD6etK-WShQg4u2yAw7zFTXBlhybQxULP_9I/s320/11colors.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKOOnOJhsjqDhwzIKE2N5zF19j0WiOw2MDsgODl11ciEbT-lyQW9oZsOgi1JXwXS3OuerXxDVleXDhfhGlB03Cx7yCii_ZuI2pOc3EiUvXBd_WedQH9vcS8YIpuV0ZgBYoY9S7fwXdvIP3/s1600/12colors.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKOOnOJhsjqDhwzIKE2N5zF19j0WiOw2MDsgODl11ciEbT-lyQW9oZsOgi1JXwXS3OuerXxDVleXDhfhGlB03Cx7yCii_ZuI2pOc3EiUvXBd_WedQH9vcS8YIpuV0ZgBYoY9S7fwXdvIP3/s320/12colors.jpg" /></a><br />
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</div><div class="" style="clear: both; text-align: center;">It's amazing how different those blues and oranges look with the purple...<br />
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<div style="text-align: left;">It was brought up too whether or not I use Photoshop cutout for my linocuts, and the answer, plain and simple, is yes. While I don't copy it exactly I do definitely use it as a guide. Generally I'll print out the original photo and the Photoshopped image and do something in between. I guess I've never had an issue with it, as I'm more interested in exploring the image and the process, and less about original vector design, but I suppose others might see it otherwise. Any thoughts on the issue? I'd honestly like to hear them. <br />
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</div><div class="" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6myFzTV4dcuNqFU7WkYqYVrFG_LUDQZKJjxLW8TXMbWuNlnXDvbpZhOKE91xN-bfD7Q7UENvWK-_3AqJnpXvvJRl9aDIMGHQ5W5A5-TaLIPh2SdPstWfbcOaODZ0KQRxGwAcz4zTVLjiL/s1600/ilikecatspin.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6myFzTV4dcuNqFU7WkYqYVrFG_LUDQZKJjxLW8TXMbWuNlnXDvbpZhOKE91xN-bfD7Q7UENvWK-_3AqJnpXvvJRl9aDIMGHQ5W5A5-TaLIPh2SdPstWfbcOaODZ0KQRxGwAcz4zTVLjiL/s200/ilikecatspin.jpg" /></a> In other news, I happened by "Mall" in Moorhead during their sidewalk sale and rummaged through aisles and aisles of old antiques and...well, antiques. I found one bin marked pins and got these little jewels for only 75¢. In other OTHER news, enough with blocks. On to stones! My next post will cover a big multi-media, sculptural piece I'm creating from a lithograph, about fifteen small ImageOn/intaglio plates and drawings. :) <br />
</div>Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com2tag:blogger.com,1999:blog-8538189381028220741.post-54695313473257086552009-10-28T20:30:00.002-06:002009-10-29T12:15:59.244-06:00Why Hello multi-colored linocut- We meet again. (part I)<div style="text-align: center;"><br />
</div>So earlier this year I took it upon myself to try my hand at linoleum cuts again. I had done <a href="http://www.kelliehames.com/art/prints/owllino.html" target="_blank">one previously</a> for my intro to printmaking course and thoroughly enjoyed it- it was six colors. The one I completed just recently was 36. That's right, 36. It's the toy phone seen on the header to this blog- and also on my website <a href="http://www.kelliehames.com/art/prints/index.html" target="blank">here</a>. I fell in love with the process all over again and, as masochistic as it may seem, wanted to do even more. So early this month I started another one.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWbVU3bYJw1aQqczUevqqBoNJ_-NkfVQ6OCnp-ODAtjgITJq20dsOKQ0FuV7iJrd34lIpAcHFBblZojCaqJOrwknZnGvxuIBHRCLdWIH0w3OEAgb4sz2mNuFJIC6lyQwZpg0jmB4-OaYsb/s1600-h/beginning.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWbVU3bYJw1aQqczUevqqBoNJ_-NkfVQ6OCnp-ODAtjgITJq20dsOKQ0FuV7iJrd34lIpAcHFBblZojCaqJOrwknZnGvxuIBHRCLdWIH0w3OEAgb4sz2mNuFJIC6lyQwZpg0jmB4-OaYsb/s320/beginning.jpg" /></a><br />
</div>The first was an old Fisher Price toy phone I found at a thrift store, and I decided to continue with this theme. I like the idea that something a child had such love and devotion for eventually ends up for sale in a junk store, all love forgotten. This love and abandonment is reflected in the block itself. Such devotion goes into making these multi-colored linocuts, but because of the nature of the process all I end up with (besides some hopefully beautiful prints) is a carved away, useless piece of linoleum, which just gets thrown away. So off to the junk store I went!<br />
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What I ended up finding was a beat up, old as sin wooden toy dog. I took some photos, transferred it to my block and began cutting away. When I transfer my image I usually just rub it up with red conte and draw in the lines after with a ballpoint pen. I like using the pen because it doesn't rub off during printing and stays put even after cleaning the plate with mineral spirits. The first image here shows the pen on the block along with a few cut marks where the white of the paper will show through. I always draw in with pen where I'm going to cut just so I don't mess everything up. :)<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXdjVd1Eb-GfESwuhYrY5NXKJjgN8hbM6k45Jga0Vgy5XDdUBNKXZXW_k8fI9SUDarV8FeFul061AXTtFY9czONmZV6b7qFoewK9smNY_gNMzoO44pMAz0MYGjne_kJRSvUyWXgcaDUk9A/s1600-h/pen.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXdjVd1Eb-GfESwuhYrY5NXKJjgN8hbM6k45Jga0Vgy5XDdUBNKXZXW_k8fI9SUDarV8FeFul061AXTtFY9czONmZV6b7qFoewK9smNY_gNMzoO44pMAz0MYGjne_kJRSvUyWXgcaDUk9A/s320/pen.jpg" /></a><br />
</div>My first step (after stretching my paper) was to print a light blue for the flecks of paint still clinging to the toy. I'm trying something a little different in that I'm creating a mask for most of my first few colors, just so I don't build up a great deal of grease in the ink that's getting layered. At the time I'm writing this I've found this to be a mistake- the first layer or two should probably be put down over the entire block, just to create a base. I'm afraid I forgot to get any pictures after the first color was printed, but it went down without any hitches, and I kept a lot of the grease out of my ink.<br />
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On to color two!<br />
So after the lightest blue was printed again I took my block and marked in with ballpoint pen where to cut out (image 2). Again I created a mask for the blue (which only covered a small section of my block) and printed again. I'm afraid this one had a bit too much grease in it which is repelling some of my later colors. Live and learn though, right? Here's an image of the mask with the second color along with a print showing colors one and two. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuoYTaW3GYkART1FL3FTOhDYKW_8HJiHemFcu2j3hR_tBRa-MeSUrzd9FEvbHYURcxWfp9yidkKKFbh1HMsl4_m0fbBjEqlaNhpVDO-hieGYEF_lYgBNMrOCAppu3Vgh9s0yiqQzoc4esp/s1600-h/rollup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuoYTaW3GYkART1FL3FTOhDYKW_8HJiHemFcu2j3hR_tBRa-MeSUrzd9FEvbHYURcxWfp9yidkKKFbh1HMsl4_m0fbBjEqlaNhpVDO-hieGYEF_lYgBNMrOCAppu3Vgh9s0yiqQzoc4esp/s200/rollup.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil4YiQEtxCdiHxLPV6QMiex4MzddiJWa-8XpzPNAFq8D0neuGmNKlvbm-hUJzERRFb9VWOUR_BVn2SUMM8Tv6y_uadaQ2PCALhNH5ijhkDqk7PWRV1BcekHuQWBcdm-R6hRm6L2YQ3M_PE/s1600-h/done.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil4YiQEtxCdiHxLPV6QMiex4MzddiJWa-8XpzPNAFq8D0neuGmNKlvbm-hUJzERRFb9VWOUR_BVn2SUMM8Tv6y_uadaQ2PCALhNH5ijhkDqk7PWRV1BcekHuQWBcdm-R6hRm6L2YQ3M_PE/s200/done.jpg" /></a><br />
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</div><div class="separator" style="clear: both; text-align: left;">I usually make my masks out of contact paper, but find it sometimes peels up with the tackiness of the ink, so I end up having to tape it down in spots. This isn't the brightest thing to do either though, since the tape raises up the roller enough that it becomes difficult to cover it evenly, so I'd recommend taping over areas far enough from where the roller will be hitting! <br />
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</div><div class="separator" style="clear: both; text-align: left;">Anyway, I'm still pretty excited about this project, and following this one would still like to do one more multi-colored lino to create a series of three. There's about six colors on this one now (I'm new to this blogging thing, so I'm not in the habit of taking pictures after every color ;) ) and I'm not even going to count how many there <i>will</i> be but I'll be sure to keep posting my progress over the next few weeks. Check back to see it, hopefully it'll be great when it's finished!<br />
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</div>Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com3tag:blogger.com,1999:blog-8538189381028220741.post-37272463263795202072009-10-10T20:39:00.017-06:002009-10-10T23:04:09.877-06:00Day of the Dead: Steamroller printing at the Plains Art Museum<div class="separator" style="clear: both; text-align: center;"><br />
</div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPCM1xH4_K-oA5VJfFiLblO8tKqAGbqhc_FOCsSPohnraUafhIdRWwB7vGaqbPKRFDjmyhxrGArGktsbB0WCiDMhYYMd20p2l570G2uj6iBiaQ3AJJz0KKD5FFgB_HbY42x3vAoGti9lor/s1600-h/100_4035.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPCM1xH4_K-oA5VJfFiLblO8tKqAGbqhc_FOCsSPohnraUafhIdRWwB7vGaqbPKRFDjmyhxrGArGktsbB0WCiDMhYYMd20p2l570G2uj6iBiaQ3AJJz0KKD5FFgB_HbY42x3vAoGti9lor/s320/100_4035.JPG" /></a><br />
This last weekend, October 3rd and 4th marked the sixth annual Studio Crawl brought about by the Fargo Moorhead Visual Artists group. Special guests this time around included <a href="http://artorg.info/" target="_blank">Art Org</a>, a group of artists from Northfield, MN who, in conjunction with Latino artists from the twin cities, participated in large-scale steamroller prints. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU9_AfxXkvrydXhiDFJSEDOMJNzr4zlr8_atbJIsXAZBdI5eeOjg7fiPQllBKK5j1yTOOPdiIdZeolhQe-de60AUbQrJ8W7zomb7E4xkzB9M1RLKK3ATuAJbnqAxtO3L1CpYMVkx8PqAHT/s1600-h/100_4033.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU9_AfxXkvrydXhiDFJSEDOMJNzr4zlr8_atbJIsXAZBdI5eeOjg7fiPQllBKK5j1yTOOPdiIdZeolhQe-de60AUbQrJ8W7zomb7E4xkzB9M1RLKK3ATuAJbnqAxtO3L1CpYMVkx8PqAHT/s320/100_4033.JPG" /></a><br />
</div>A few months ago I, and other students printing at the Plains Art Museum Hannaher Studio, volunteered to help this group print their woodblocks. So I arrived bright and early Sunday morning to set up for visitors and get my job assignment. I was expecting to be cleaning rollers, getting supplies and other menial jobs, and was delighted to find that not only did I get to mix up the ink for one of the blocks, I got to spend most of the morning actually rolling up the block! <br />
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The piece I got to help with was a large bison including all the participating artist's names in the bones. It was a really interesting work, and certainly a feat to roll up. <br />
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Below are some images of the roll up, registration system (which just included shishkabob wires and holes) and the steamroller pressing the paper to the block, along with (of course!) the final piece.<br />
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<div style="text-align: center;">Isn't is lovely? It's about 4 x 8 feet!<br />
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</div>Kellie Hameshttp://www.blogger.com/profile/05728579668956469268noreply@blogger.com1