Punch Registration

Punch registration systems use a paper punch and registration pins to align paper and plates. I have experimented with this kind of system in the past, but I like to maintain the deckle edges on my paper, so the idea of trimming off the punches after printing did not hold a lot of appeal. On my most recent woodcut, I [...]

Northern Pacific

I completed a new edition today. Northern Pacific is an image of a railroad drawbridge, in the raised position, near the Port of Seattle. It is a three plate color woodcut. All three plates are 1/2" MDF, sealed with shellac, a thin coat of acrylic gesso and then a second coat of shellac applied after cutting. It is printed on [...]

Failure is always an option

In the movie Apollo 13, Gene Kranz, the Flight Director, asserts that "Failure is not an option!". It isn't clear whether he actually said that, but he certainly believed it.For me, as an artist, the opposite is true. Failure is always an option. I was working on a plate for a new print this afternoon, which was actually going quite [...]

New Editions

I have been busy editioning several new prints over the last little bit. It seems like I have had more work in progress, and less finished. I am sort of catching up on the backlog. North Lake Way Color Woodcut 21 7/8" x 14 1/4" Edition of 10 Copyright 2010, Dean Russell Thompson This is a three plate color woodcut, [...]

Trying to scratch the unreachable itch

I think I can honestly say that I have never created a work that I am completely satisfied with. Or at least that I stay completely satisfied with. Why is that? Sometimes the discontent is technical. The registration isn't perfect. There is a hint of a lap mark in that one color field. Or the paper is a little stretched [...]

Why printmaking?

A recent comment on Amie Roman's blog makes the claim that printmaking, as an art form 'is dead'. This was in response to an entry where she discussed reproductions vs. original prints. I have written on this topic myself. This got me thinking. Why am I a printmaker? Other than the investment in presses I mean. What was it about [...]

Process Color

A while back I wrote about color and pigment in inks and paints (Copper Plate Daily - October 10 2009). I have been thinking lately about the differences between mixing colored inks and using process color. For those of you that are unfamiliar with the term, process color is the mechanism of creating color on a substrate by printing dots [...]

Staring you in the face

I had one of those little 'well of course' moments today. I have been working on an intaglio plate with some very deeply etched areas. I decided that I would add some acrylic gel / carborundum grit to these in place of an aquatint to provide some texture as well as tone. I proofed the plate this morning and noticed [...]

New work

I have been busy in the studio recently and am finally getting caught up on photographing my work. The processes used in these prints vary, but they all are 'Unseen Landscapes' of the modern world. West to Memphis - 2009 Color Woodcut on Rives BFK 14.75" x 34" (22" x 30" paper) Edition of 6 Copyright 2009, Dean Russell Thompson [...]

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