Mr Franklin’s printing press

Press on which Franklin learned the printing trade... Digital ID: 117414. New York Public LibraryAt age 12, Ben Franklin was apprenticed to learn the printing trade from his brother James. Three years later, James founded The New-England Courant, the first truly independent newspaper in the colonies. When a letter written by Ben Franklin was refused publication, he responded by writing under a pseudonym – ‘Mrs. Silence Dogood’, a middle-aged widow. The letters were published and a topic of conversation about town. When the ruse was uncovered Ben left the apprenticeship without permission, and ran away to Philadelphia, and worked as a printer there.

He opened his own printing shop in 1728 producing a newspaper (The Pennsylvania Gazette) and his annual Poor Richard’s Almanack. He was very inventive – he printed cartoons, illustrated news stories, letters to the editor, and used his press as a way to bring news to the people. His use of cartoons and illustrations meant that more people could understand the news, even those with limited reading skills. Poor Richard’s Almanack was equally entertaining – the blend of wit and wisdom gives us an insight to Franklin’s sense of humour.

Posted in art history, book arts, letterpress | Tagged , , , , | Leave a comment

IMPACT 7 Update: Keynote Speakers

Confirmed line-up of keynote speakers for IMPACT 7. To read more about them, please visit the “Keynote Speakers” page on the conference website.

1. Heri Dono (Indonesia) – Heri Dono is unquestionably one of Indonesia’s highest regarded contemporary artists of his generation, and is best known for his mixed-media installations derived from his experiments with popular Javanese folk theatre Wayang.

2. Brook Andrew (Australia) – Brook Andrew is a conceptually driven artist who challenges cultural and historical perception, using installation, text and image to comment on local and global issues regarding race, consumerism and history.

3. Trent Walter (Australia) – Trent Walter is a Melbourne based printmaker and writer. In 2009, he established Negative Press, a fine art custom printmaking workshop focussing on etching and silkscreen techniques. Recent projects include a multiple panel silkscreen portrait of Professor Marcia Langton by Brook Andrew, commissioned by the National Portrait Gallery, Canberra,

4. Mike Parr (Australia) – For more than thirty years, Mike Parr has been engaged in possibly the most concentrated and ambitious program in contemporary Australian visual art – the Self Portrait Project. This series of works has been realised through a myriad of individual pieces in printmaking, drawing, sculpture, painting, video and performance.

5. John Loane (Australia) – John Loane is a master printer and print publisher who has a long-standing collaborative relationship with Australian artist Mike Parr.

6. Prof Johanna Drucker (USA) – Johanna Drucker is the inaugural Martin and Bernard Breslauer Professor of Bibliographical Studies in UCLA’s Department of Information Studies. She has written and lectured widely on topics related to the history of the book, with special emphasis on artists’ books, typography, experimental poetry, and contemporary art.

7. Prof Teal Triggs (UK) – Teal Triggs is Professor of Graphic Design, University of the Arts London. She is co-Director of the research unit for Information Environments (i.e.) and Course Director for MRes Information Environments and MA Design Writing Criticism, London College of Communication, University of the Arts London.

8. Prof Paul Coldwell (UK) – Paul Coldwell is Professor of Fine Art at the University of the Arts London, and an artist whose practice includes prints, book works, sculptures and installations. He is currently developing a multi-disciplinary project in conjunction with Birkbeck, University of London, the Sir John Soane Museum London and the British School at Rome.

Posted in conferences, professional development | Tagged , , , , , , , , , , , , , , , , , , , | 1 Comment

How to make Books

image from ShepherdsShepherds Falkiners of London, purveyors of fine papers and bookbinding supplies (yes, they mail worldwide) have created a beginners guide to bookbinding, supported by a 13 minute video.

The video is a good quality production and the steps are clearly stepped out. Of course Shepherds want to sell you their materials but you could get started with basic materials available in your local craft shop. And when you get the process down to a fine art then you might not be able to resist the extensive range in their online shop.

Posted in book arts, books, materials, techniques | Tagged , , , , | Leave a comment

Utagawa – Masters of the Japanese Print, 1770-1900

image from http://www.brooklynmuseum.orgFrom the Brooklyn Museum web site: Utagawa: Masters of the Japanese Print, 1770–1900 presents more than seventy prints from the renowned Van Vleck collection of Japanese woodblock prints at the Chazen Museum of Art, University of Wisconsin–Madison and approximately twenty prints from the Brooklyn Museum. The Utagawa School, founded by Utagawa Toyoharu, dominated the Japanese print market in the nineteenth century and is responsible for more than half of all surviving ukiyo-e prints, or “pictures of the floating world.” Colorful, technically innovative, and sometimes defiant of government regulations, these prints were created for a popular audience and documented the pleasures of urban life and leisure. The prints represent famous places, landscapes, warriors, and kabuki actors; they were reproduced in books, posters, and other printed materials for mass consumption, and they fed a thriving Edo publishing industry.

You can download a free 20 minute video of the exhibition from iTunes.

Posted in art history, exhibitions, woodcuts | Tagged , , , , | 1 Comment

Wood-Block Printing

image from http://www.gutenberg.orgWood-Block Printing, by F. Morley Fletcher, Illustrated by A. W. Seaby

A Description of the Craft of Woodcutting and Colour Printing Based on the Japanese Practice

A free e-book, available for download from Project Gutenberg.

Traditional Japanese woodblock prints were produced by using very simple tools and techniques – but with extremely high levels of craftsmanship. No press or other machinery was used. The designs were cut on the cherry wood blocks using just a few cutting tools. The print was made using a round flat pad rubbed on the back of the print. Colours were mixed with water and rice flour paste. Deceptively simple tools and techniques, wonderfully rich, subtle, and beautiful results.

From the e-book:

There are two common ways of studying old and foreign arts — the way of the connoisseur and the way of the craftsman. The collector may value such arts for their strangeness and scarcity, while the artist finds in them stimulus in his own work and hints for new developments.

The following account of colour-printing from wood-blocks is based on a study of the methods which were lately only practised in Japan, but which at an earlier time were to some degree in use in Europe also. The main principles of the art, indeed, were well known in the West long before colour prints were produced in Japan, and there is some reason to suppose that the Japanese may have founded their methods in imitating the prints taken from Europe by missionaries. Major Strange says: “The European art of chiaroscuro engraving is in all essentials identical with that of Japanese colour-printing…. It seems, therefore, not vain to point out that the accidental sight of one of the Italian colour-prints may have suggested the process to the Japanese.” The Italians aimed more at expressing “relief” and the Japanese at flat colour arrangements; the former used oily colours, and the latter fair distemper tints; these are the chief differences. Both in the West and the East the design was cut on the plank surface of the wood with a knife; not across the grain with a graver, as is done in most modern wood engraving, although large plank woodcuts were produced by Walter Crane and Herkomer, about thirty years ago, as posters.

Posted in art history, research, techniques, woodcuts | Tagged , , , , , , , , | Leave a comment

Preparing your own etching mull

The price of etching mull goes up and up, so it seems sensible to prepare your own. Etching mull is a loose weave material that has been heavily starched. Normally to wipe an aquatint with etching mull you have to soften it slightly by working it over a table edge or working it backwards and forwards around a table leg. It is possible to wash used etching mull and re-starch it.

You can very easily make your own etching mull by buying baby muslin (between $2.75 – $3.00 per metre) from a material shop and then starching it yourself. The recipe below was successfully used by one of our members, Tina Shilvock, to starch the baby muslin to a level that was perfect for line etch and light aquatint work.

To 1 cup of boiling water add approximately quarter of a cup of cold water that has 2Tbs of cornflour mixed into it. Add the cornflour mixture slowly, stirring all the time to avoid lumps! Leave to cool. Saturate muslin. Wrap it in a towel to wring out any excess starch. Put your iron on its highest setting and iron it dry – bit of patience is needed! You could try hanging the cloth out to dry and then ironing it as it is a bit sticky. This recipe covered approximately 1.5m of baby muslin. Recipe from the Thrifty Fun web site – under “Looking for a really Good Starch”.

Posted in materials, techniques | Tagged , , , , , , , , , , | 1 Comment

M.C. Escher at work

image from http://www.mcescher.com/So let us then try to climb the mountain, not by stepping on what is below us, but to pull us up at what is above us, for my part at the stars; amen. — M.C. Escher

You can watch the master working on a mezzotint, and a series of interviews with him about his life and work.

Christies are currently offering an auction of Impressionist and Modern Art (Wednesday 19 May 2010) including some M.C. Escher prints – see pages 90-91 of the e-catalogue. Works include lithographs, wood engravings, and a linocut, with the linocut expected to reach an affordable 5-7,000 euros.

Update: The lithographs and wood engravings reached more than double the estimated € 10,000, the lino print €7,500. Sale day: 19 May 2010, Amsterdam – more information at Christies.

Posted in art history, auctions | Tagged , , , , , | Leave a comment

Glen Skien workshops

image from http://papermakers.org.au/Brisbane-based printmaker, assemblage, and book artist Glen Skien will travel to New Zealand, and offer a number of workshops in Sept/Oct this year.

Portfolios of Glen’s work can be seen at Silent Parrot Press.

Glen will teach at UCOL in Whanganui September 25/26 – drypoint/collage, drawing, and mixed media prints. Enquiries to Julia – pjellery@clear.net.nz. Register online.

September 27/28 at Homeprint Studios where he’ll teach a combination of mixed media prints and book arts. Enquiries to John Brebner – homeprint@gmail.com.

October 2/3, October 4/5, and October 6/7 – Glen will be in Auckland at Lake House Arts Studio, Takapuna, where he’ll be teaching mixed media prints and book arts.

October 9/10 at Dilworth School, Epsom. This workshop is aimed mainly at teachers PD. Glen will teach mixed media prints. Enquiries for this workshop, please email Susan – hurrfiel@ihug.co.nz.

Posted in book arts, professional development, techniques, winter workshops | Tagged , , , , , , , | Leave a comment