Paintings from Sunset Series by Spence Munsinger, Color Field + Blank White Canvas + Realism + Contemporary Abstract Art, original paintings for sale

"Drawing is like making an expressive gesture with the advantage of permanence."
― Henri Matisse

print from Printmaking Revolution by Aaron Noble

This print makes me want to build an etching press and do something like this…

It has an abstraction that just approaches recognition and than violently backs away from it.

 

Print by Aaron Noble, original

 

Print by Aaron Noble, rotated 90 degrees

 

Print by Aaron Noble, rotated 180 degrees

 

Print by Aaron Noble, rotated 270 degrees

 

i’m certain I see a robot head, and then I don’t… I see long blonde hair, and then I don’t. Rotating it adds to the effect. It is so close to the motion and color and impact of a really well done comic, and then so far beyond that in concept. This from four pages into Part Two Intaglio, Printmaking Revolution by Dwight Pogue.

 

 

— spence

 

screenprint, then etching…

I found do-it-yourself plans and instructions for a vacuum table and a screen washer.

Printmaking Revolution

I found a video on the best do-it-yourself screen exposure box. This is by Roger jennings and he has quite a few more (search google and you tube).

All of this will take time, and I’d like to build it out of nice wood rather than run of the mill oak or maple. I’ve been making a vanity for our downstairs bath out of Jatoba, a Brazillian cherry, which initially at least looks like a rich teak and is a very very dense and hard wood.

Jatoba

I keep reading and learning. Screens need prep in the borders and edges, using gummed packing tape and shellac, varnish, or paint (depending on the book).

Squeegees should be an inch or so wider than the image. For me that means about 22″ wide. Not a Dick Blick item – but I found squeegee material (12′ 70A for $100) and individual 22″ squeegee at about $35 at https://printersedge.com.

aluminum-squeegee-holders

What I think I need to do this keeps refining and changing as I read through this. What makes it possible to sort it fairly effectively is I know the impact I want, the size of the images, that they derive from the sunset paintings but aren’t direct photo stenciled – but maybe they do come from that process altered. Thus I can look through paper, screens, squeegees, designs for tables and exposure, and evaluate against that initial 24″ x 30″ painting – probably a 18″ x 22″ print…

More to learn. But this is a much simpler project than an etching press will be.

—spence

a Baltic Birch press roller

I was looking through Doug Forsythe’s Build Your Own Press plans. I love doing things myself, I tend to want that kind of control over the quality of the product. Asking a machinist to mill metal, an area which I don’t have any experience or native inclination, is going to be the unknown. I’m going to build the metal roller version, including the machinist, because the rollers take a lot of pressure and because I want to do this once. Or maybe twice – I’m thinking of pricing the parts as pairs – for two presses. I’ll either have a spare press, or a hell of a gift for my artistic step-daughter, or a press for sale.

One alternative I seriously thought of persuing was at Craft and Concept. I do have the experience and native inclination for turning a baltic birch roller set… Not to mention, the rails and framework are beautiful to see.

Baltic Birch Press

—spence

printmaking

I saw the MFA’s Alex Katz Prints exhibition April 25th. Alex Katz’s work reminded me intensely of Tom Wesselmann. Alex Katz was at Cooper Union 1945 to 1949. Tom Wesselmann was accepted at Cooper Union in 1956. They are roughly contemporary, Alex was born in 1927, Tom in 1931. Tom Wesselmann maintained bright color and pop art direction through to his passing in 2004. Alex Katz kept similar bright color and simplified form (at least in prints) but concentrated on literal interpretation of the human form.

wesselmann
alex_katz_1
wesselmann2
Alex Katz print #2

A lot of fun to see.

In the exhibit some of the prints were exhibited done through several different processes – screenprint next to woodcut, for example. I’m researching presses, screen and etching. If it were as simple as buying a press and trying it out that would be one thing. But I would want to print abstracted sunsets at 24″ x 30″ and that in a new etching press is 5500.00 and up. Not to mention you have to watch what these things weigh – some are “light” at 1250 lbs., a weight savings of half from a less weight-conscious press that comes in at 2650 lbs. Not the thing you throw casually into a second floor studio. Screen presses are easier in the press itself – I can likely build one that will accommodate 24″ x 30″ prints in four colors. I found a design which I can adapt at www.printingplans.com. Most of the for-sale presses for screen are t-shirt and fabric presses.

I also found an elegant solution already executed by Doug Forsythe at buildapress.com. This is very interesting. For a best guess expense of $1200 – $1700 I can likely build a press that would print 26″ x 32″ (my arbitrary dimensions). A press that I am finding would cost 5500.00 to 8500.00 new, and would be able to print exactly what I want to.

I think a simplified abstracted away yet again sunset could be very cool in handmade small editions. Not to mention just straight print art itself.

— spence