Got a new print done at the Bow & Arrow Press. This one is called Path of the MER-A Rover “Spirit” and represents the 6-year lifetime of the Spirit rover on Mars as it skirted craters and made its way to the Columbia Hills. The craters on the plains are printed in PANTONE warm Red and the Columbia Hills massif is printed in PANTONE 153 on Lettra 220# letterpress paper. The path of the rover (highlighted in this photograph, taken with the print oriented to an oblique light source) is embossed without ink.
The paper size is 9.75″ x 8.25″, the edition size is 40 and they are available for sale.
Earlier this week I ventured forth to Marfa, Texas, home of the Chinati Foundation and the Judd Foundation. I met with my gallerist at inde/jacobs gallery, checking out the new gallery space and dropping off some of the shipping container prints I did last year. It was a great time! The new gallery is lovely, and if you’re ever out in the wilds of West Texas, do think to drop by.
Here’s a gallery of images I took while there:
The last week I’ve been busy at work at the Bow & Arrow Press using our Charles Brand intaglio press to print an edition for inde | jacobs gallery in Marfa, TX. Some of my prints are listed here. The gallery is preparing to re-open after a long hiatus, and these prints will be available at the “soft opening” the day after Christmas.
The print, called “Nominal Chinati”, is an homage to three pieces, one by Judd and two by Flavin. It’s a shaped-plate relief print cut with a laser into 0.050″ aluminum, and rolled with Daniel Smith relief ink. There will be 45 members in the edition, and perhaps three Artist Proofs and one Press Proof.
Here’s a shot of the inking setup:
Finally had the time to go sign and number the small shipping container prints. This series is all 13″ x 6.25″, printed in black on Lettra 220# fluorescent white paper. There are 40 members in the edition, and I’m reserving numbers 1-13 as complete sets.
Click to embiggen on any one of these:
I liked the original three shipping container prints so much I had to do four more. There was a brief delay when I accidentally ordered plates from Boxcar at half the size of the original three, but that was quickly corrected and I got the proper size plates soon enough. The delay was fortuitous, because that allowed the PANTONE mixing guide I had ordered for the Bow & Arrow Press to arrive, and I was able to mix PANTONE 540 for the NYK container print. I also went ahead and ordered the original three in half-size, which means I will be able to do a 13″ x 5″ edition as well as the present 20″ x 9″ edition.
The editions are numbered to 27. I will be selling numbers 1-13 in sets of seven, and numbers 14-27 individually. I haven’t figured out a price yet, but will post that soon.
Here are the new prints, freshly numbered and signed:
Evergreen in PANTONE Green
Today was a busy time at the Bow & Arrow Press, where I was not only running a four-color broadside for a poetry reading at Emory University, but also running editions of my long-waiting shipping container project. I pulled three sets of prints for the series, and each will be signed in an edition of 27 when they’re dry:
Cosco in Warm Grey 7
Before and after class at the Bow & Arrow on Saturday I started messing around with my cubes of wood again. This time I started playing with four groups of four blocks, set roughly in lines, and used some graphite ink I’d mixed earlier in the month. I’m really pleased with the silvery color of the graphite mixture, it’s very handsome and layers quite nicely. Some of the earlier runs were too simple, so I added a color progression starting with PANTONE Yellow and adding a rusty red mixture one of my regulars had whipped up for a recent project. The results were interesting:
Four of Four: Graphite Graphite Yellow Orange
Four of Four: Graphite Yellow Orange Red
Four of Four: Multigraphite
While posting about the Random Grid prints I realized I’d neglected to actually post about the first round of grid prints, done with the smaller cubes I’d had lying around from a project from several years back. So! This one, “Pixel Gradient”, was the very first one I ran, a proof-of-concept using a blue-to-purple split fountain at the Bow & Arrow:
The second one, which used the same grid as “Pixel Gradient” but split into four parts and run with four different fountains, is called “Organic Grid”:
More should follow soon!
Today I taught an engraving/drypoint class, two Crash Courses and some Intermediate and Advanced students in the Bow & Arrow Press. I also took the opportunity to take some press time for myself, and got some artwork accomplished. First up, a type sample project I’d been preparing ever since I found a lead version of my favorite typeface, Akzidenz Grotesk, at Letterpress Things in Chicopee, Massachusetts a couple of weekends ago. It’s called “Standard”, and I found it wrapped up in the boxes that came fresh from the foundry way back in probably 1975 or 1981:
I really needed to get ink on these lovely slugs of lead, so I prepared a stream-of-consciousness text seeded with the word “Standard”, and titled it “Standard Deviations”:
I liked it so well, I’ll probably do some more. (Incidentally, the title is set in Futura Light 36pt, not Standard.)
After that, I needed to run some cube prints, using the new 7/8″ cubes I’d gotten a few weeks back. These cubes are closer to being type-high, so they’d be easier to run on the letterpress. I set up two randomized layouts of 16 cubes each, referencing two grid compositions I did earlier in the fall. For the first run, I did two split fountains, one with black shading to graphite, the other 7459 Blue shading to 481 Tan:
I wasn’t quite satisfied with this layout, although I did run an edition of it. Playing around with the positioning of the cube sets and staying within the blue-tan fountain, I finally found this combination that worked:
So, all-in-all a pretty successful day at the press.
This evening a bunch of people came out to 72 1/2 Union Square, between The Independent and the Subway sandwich shop, to see a tiny little museum set on the wall where a payphone once stood. It’s the brainchild of Judith Klausner and Steve Pomeroy, who did a bang-up job getting it together. I have a few pieces in the Museum right now, two of my city silhouettes and a surveillance camera print. The website for the MicroMuseum is here. The very cool thing about the unveiling is that it included an actual ribbon-cutting by the mayor of Somerville, Joseph Curtatone. Good support for the arts here in the environs of Beantown!
Here’s a gallery of shots I took with my cell phone:
Mayor Curtatone talking to the press.
Child presented for scale.
Peering into the MicroMuseum
Mayor Curtatone cutting the ribbon, the creators, Judith Klausner and Steve Pomeroy, looking on.
Micro Parking Available. Subcompacts Only.
Good crowd at the unveiling.