Update on Akua inks videos

http://www.akuainks.com/watch-video-demos

Exchange Portfolio

The College Book Art Association is excited to present Folium CBAA’s inaugural print portfolio/exchange to benefit the CBAA academic journal, Openings: Studies in Book Art. Inspired by the potential for Openings to grow as a platform for critical and theoretical investigation, the theme for this portfolio is Folium (plural foliums or folia). Folium, in Latin, means leaf: a leaf of a book or a tree. The mathematical folium of Descartes is a curve consisting of two infinite branches sharing a common asymptote; the curve has a double point and a leaf-shaped loop. In anatomy, a folium is a wrinkle on the surface of the brain. In geology, a folium is a thin, leaf-like layer or stratum occurring especially in metamorphic rock. Together these definitions suggest growth and layers, and they lead to a visually rich collection of prints: prints with references to math, leaves, folded paper, and suggestions of the infinite. The imaginative variety of prints and folios in the Folium collection range from classic letterpress printed broadsides with text to purely visual interpretations of the theme to contemporary pieces utilizing tactile materials and inventive techniques. The imagery includes leaves and algebraic curves, as well as references to book pages and the brain. The participating artists are professionals in the field of book arts: printers, binders, educators and fine artists. In the spirit of our journal, Openings, this portfolio is our offering to the future of book arts. Participating Artists: Megan Adie, Tia Blassingame, Mare Blocker & Jessica Spring, Denise Bookwalter, Macy Chadwick, Julie Chen, Bridget Elmer, Lucy Holtsnider, Andrea Kohashi, Sara Langworthy, Susan Lowdermilk, Amy Lund, Kimberly Maher, Emily Martin, Kerry McAleer-Keeler, Allison Leialoha Milham, Kathleen o’Connell, Candida Pagan, Radha Pandey, Camden M. Richards, Jaime Lynn Shafer, Barbara Tetenbaum, Emily Tipps, Sara White, and Karen Zimmermann. Edition: 50, with 25 copies for distribution to the participants, 24 numbered copies offered for sale, and one copy for the CBAA archives. Dimensions: Printed pieces: 9" x 12". enclosure: 10" x 13" x 5/8" Media: This collection consists of flat prints, broadsides and folios on a variety of papers using any print medium or combination of media, including letterpress, offset, digital printing and/or other printmaking techniques. The complete set is housed in a custom enclosure. $975

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MATERIALS IN PRINTMAKING Spring 2016

You can pick up materials only on Monday, Tuesday or Thursday during office hours in Printmaking.

Please pay at the business office and bring the receipt to printmaking (made check to MCA ℅ printmaking)

Business Office Hours

Monday                11am-4pm

Tuesday               11am-6pm

Wednesday          11am-4pm

Thursday              11am-4pm

Friday                   11am-4pm 

Closed on Saturday and Sunday

Paper $2.00

Copper plates
Add $2.00 for shipping

4X5 $5.00
6X9 $11.00
8X10 $16.00
9X12 $19.00
12X18 $37.00
18X24 $73.00

Available sizes until sold out

2x6        $5.00
4x6 (4)  $6.00
6x9 (2)  $11.00
6x10     $6.00
6x18     $19.00
6x24     $12.00

Pro-rated sizes

Linoleum

Gold 9x12 $4.35
12x18 $8.69

Richeson clear carve linoleum
12x12    $12.00

Aluminum Litho Plates

18 x24 $14.00

12x18 $7.00

9x12 $3.50

Lithography Polyester Plates

12x18 $1.85

6x9 $0.95

Lithography Emerald positive plate (photo litho plates)

19 5/16 x 26 1/2 $10.00

8 x 13 $5.00

Polymer plates for letter press
$12.00

Solar plates

8 1/2 x 10 $10.00

6x9 $5.50

Polyester Plates or pronto plates
8.50x11 $1.50
12x18 $1.90
18x24 $$3.80

Positive INK JET film
8.50 X 11 $1.50
11X17 $3.00

Polymer plates
8x10 $15.00
6x8 $10.50

Facebook Website SANTA MONICA OPEN PRINT STUDIO LAUNCHING SUNDAY, OCTOBER 4th: Through our co-founder Zeina Baltagi ~ The Camera Obscura Art Lab at 1450 Ocean Ave in Santa Monica is pleased to present an ongoing printmaking lab on Sundays from 2-6pm. Each session is $20 and they launch Sunday, October 4, 2015. Get their living room dirty rather than yours! They have recently acquired a 30X48” Dickerson combination motorized press from the VPS. All who have some familiarity with the printmaking process are invited to come make prints! Bring an apron, portfolio, and printing blocks; monotype, collograph, linocut, and other techniques will be accommodated. Some paper will also be available for purchase; use of shared soy-based inks, inking surfaces, rollers and brayers, and disposable gloves are included in the lab fee. These sessions are great for folks who have taken printmaking classes in the past, or have learned elsewhere and want to keep up their art practice. If you’d like to propose talks or events centered around the use of the press they welcome suggestions! Zeina Baltagi is proctoring the labs and will also be teaching occasional workshops in various techniques beginning in November. The Camera Obscura is located at 1450 Ocean Ave, Santa Monica CA 90401. All day parking at the Civic Auditorium lot on Main a few blocks south - $5, and there is a yellow loading zone drop off available right in front. TO REGISTER, CLICK HERE

Copyright © 2015 Valley Print Studio, All rights reserved. Upon reading this e-mail you have entered the Valley Print Studio mailing list. Directors Miles Lewis and Zeina Baltagi found that you may be interested in the development of the Valley Print Studio. Our mission is to serve professional art-production and community education through the arts of print and papermaking. Our mailing address is: Valley Print Studio 5210 Collier Pl. Woodland Hills, CA  91364 Add us to your address book

Abby DuBow monotypes

Abby DuBow

Divergencies

An exhibition of New Work

 October 3 -30, 2015

Opening Reception:

Saturday, October 3, 2015 / 6:30-8:30 pm 

Fragments: Dusk  22" x 15" Monoprint

Big etching grounds information

Takach
http://shop.takachpress.com/BIG-Etching-Ground-75ML-p/big-ground.htm

Tiger Lily Press
http://tigerlilypress.blogspot.com/2013/04/experimenting-with-big-etching-ground.html

Big etching soft grounds

ground with big

We’ve been experimenting with several different substitutes for traditional soft ground. Originally a safer substitute for traditional soft ground etching consisted of a mixture of water-based block printing ink and several acrylic mediums (see Acrylic Resist Soft Ground experiments). However the problem that we encountered with this formula was that we only had a 20-minute drawing time before the ground hardened. This was not enough time to develop a well-defined drawing. We received the BIG (Baldwin Intaglio Ground) from the printmaker Andrew Baldwin of Trefeglswys Print Studio in Wales. The ground comes in either scarlet red or black and has the consistency of ink. We have had great success with BIG as a hard ground and began a series of experiments with both the Red and Black BIG for use as a soft ground for drawings.

There are many advantages to the BIG ground including: the ability to be used as a hard and soft ground, longer open time for drawing, and a far superior ability to capture tone. Our experiments developed a process that fully utilizes the soft ground aspect of BIG. We tested different transfer papers, drawing utensils, and varying ground applications. We compared the relative effectiveness of the red vs. black ground.

research project tests

• BIG Soft Ground Research Test 1
• BIG Soft Ground Research Test 2
• BIG Soft Ground Research Test 3
• BIG Soft Ground Research Test 4
• BIG Soft Ground Research Test 5
• BIG Soft Ground Research Test 6
• BIG Soft Ground Research Test 7
• BIG Soft Ground Research Test 8
• BIG Soft Ground Research Test 9

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