Home/Tag:original print

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 [...]

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 [...]

Artistic wiping

I was wiping a trial proof of a deeply etched plate the other day and got to thinking about the art of wiping. Much of the process of wiping is mechanical, so my mind often has time to wander. In this particular case, I was contemplating the difference between an 'artistic' wipe and a clean one.Historically some printmakers (Whistler comes [...]

Juggling

I have been trying to concentrate on improving my productivity in the studio of late. Part of the problem is that there are so many other things that demand my attention. Work on the studio itself, business related issues, submissions, Jack the studio dog... It is hard not to succumb to the 'tyranny of the urgent'. Jack the studio dog [...]

It is all in the details

I spent the morning printing the second color on a lithograph. As I was working, I was struck by how much you have to be paying attention to the subtle details to get things to print consistently and well.The first thing that I noticed was that I was rolling too fast. Color ink is always all over the place in [...]