I’ve just added two new videos to my Printmaking Master Classes collection of printmaking tutorials for download.
Recorded in my studio in Granada, they are:
- Traditional Printmaking 2–This is the follow up to Traditional Printmaking 1, and discusses aquatint, sugar lift and marbling techniques.
- Printmaking Tips–This is a collection of shortcuts, safety measures, ways of economizing and working more efficiently. Taken together they should make your studio experience more pleasant and productive.
You can find previews and order links for these new videos here on the Printmaking Master Classes site.
Posted in Uncategorized | Tagged Granada, Maureen Booth, printmaking in Spain, Printmaking Master Classes, printmaking techniques, printmaking tips, printmaking videos | Leave a Comment »
Cathy and Maureen review one of Cathy's new prints in Maureen's studio in Granada
In my Liquid Metal Printmaking video I use a two-tube epoxy adhesive (“cold metal solder”) called “Nural 21″ sold by a Spanish firm called Pattex. As it turned out, this product is not available in the U.S.A. and some American artists have been frustrated trying to find a suitable substitute. Now Cathy Naro has found it. I’ll let her tell you about it:
The product I’ve bought (at a local hardware store when I asked the manager for a product that I described according to my experience with Maureen) is called “J-B Marine Weld” (made in USA PO Box 483 Sulphur Springs, TX 75483 phone 1-800-529-3530).
The instructions for use sound exactly like the process we did with the weld stuff Maureen had (2 tubes to mix, put on clean surface, apply with variety of tools, in warm room let weld set up for 15-20 min. after mixing, and finally let dry at least 15 hours…)
The package says, “Fixes, fills and bonds to most surfaces, iron, steel, aluminum, brass, bronze, copper, pewter, all woods, ceramics” The package goes on to promise “J-B Weld is so tough, you can drill it grind it and machine it.” And it’s:
- one of the toughest bonds in America
- easy to use – pliable up to 25 minutes
- not affected by oil, water, petro., chemicals
- withstands temperatures up to 600degrees F (315 degrees C)
- non conductive
So, now you American print artists know where to go for the long-awaited Nural substitute. Please send me some photos of the prints you make with it. If I get a few I’ll post them here.
Posted in Uncategorized | Tagged Cathy Naro, J-B Marine Weld, liquid metal printmaking, Maureen Booth, Nural 21, printmaking Granada, printmaking Spain, printmaking techniques | Leave a Comment »
Karen Riley has lived interesting times. They took her to far-off places, they educated and uplifted her, surprised and delighted her. Then in 2006 she moved to Santa Fe, New Mexico.
Her mother had been artistic, and Karen always considered art as a refuge. She received a BFA in studio art at U.C. Davis, and then spent nearly 20 years teaching English and Comparative Culture in Japan. Influenced by the use of ink on paper as well as the richness of Japanese color aesthetics, she started printmaking in the mid 1990s. Continue Reading »
Posted in Uncategorized | Tagged collaborative printmaking, Granada, Kamakura, Karen Riley printmaker, Maureen Booth, printmaking workshops, santa fe new mexico, Spain | Leave a Comment »
City of Light
This print, which I made 8-10 years ago, was actually made for a commission, the biggest one I ever got. (Some day I’ll tell you how I got it.) The client was a Parisian real-estate company with 1,000 employees and they wanted Christmas presents for all of them. The only condition was that the images had to be versions of the buildings they were making in La Defense quarter, outside of Paris. They accepted all of the prints except this one. It seemed that the architect had changed the look of the building, and this print was no longer a true representation.
No matter, I editioned it myself and introduced it into my own distribution channels. Over the years it has been an excellent seller, something I never expected from a print of an office building!
This is a liquid-metal print (http://www.youtube.com/watch?v=2E5iZYs52bM) and I think it’s the unique qualities that this technique offers which have made it successful.
Posted in Uncategorized | Tagged City of Light, Granada, liquid metal printmaking, Maureen Booth, Paris, printmaking in Spain, printmaking tutorials, printmaking videos, printmaking workshops, Spain | Leave a Comment »
The Thrill of a Trip; Paco Was Pleasant
In the summer of 1985 Mike and I did a six-week trip from our home in Granada to Belgrade and back, visiting a few hundred hotels in Greece, Austria and Yugoslavia along the way. Mike was European editor of a hotel guide in those days. We had a new car, which was also an incentive for the trip. This was one of the few times that we rented our house while we were traveling. Paco, the Granada jeweler and his family who rented it seemed competent and pleasant people.
Everything seemed in order. Nevertheless, every single day on that trip I expressed my concern about our canary. Would those nice people feed it and water it regularly? Would they hang the cage in the shade, out of the reach of the cats? It was my constant concern and Mike got frankly bored with me mentioning it every day. Continue Reading »
Posted in Uncategorized | Tagged cat and canary, Granada, linocut print, Maureen Booth, printmaking techniques, Spain | Leave a Comment »
These (rather disordered) snapshots should give you an idea of what our village and its environs are like. You might like it here.
Posted in Uncategorized | Tagged artist's residence, Granada, Maureen Booth, Pinos Genil, printmaking courses, printmaking in Spain, printmaking workshops, village scenes | Leave a Comment »
Soon after arriving in our village–this was 40 years ago–Mike and I took the kids, then eight and ten, on a picnic on the mountainside above the neighboring village of Guéjar Sierra. This was at a period in our lives when everything was new and uncertain. While Mike made a fire to roast some pork chops I got out my sketch pad and began to draw the scene below. There was one isolated stone cottage sitting there. This used to be very common in the Spanish landscapes at that time.
Before the pork chops were done a new element introduced itself into my placid landscape. A boiling pillar of ominous dark clouds came tumbling down the valley from high in Sierra Nevada. It was beautiful but it was also frightening. I had just time to complete a rough sketch before we picked up the unfinished picnic and scrambled down the hill to the bus, getting thoroughly soaked on the way. That storm didn’t last long, and it was followed by that heavenly mountain light which was to become so familiar to us over the years.
The next day I started painting an elongated vertical oil painting which I called “Storm” / “Tormenta.” In later years it occurred to me that storm and its aftermath was a nice metaphor for the life in Spain upon which we were embarking. In 1979 I did this etched versión of the scene on a zinc plate when I was still in The Rodriguez Acosta Foundation. Mike laughingly calls it my “Giacomettish print.”
The lines were etched first onto a zinc plate. Then I added aquatint
along with lithographic ink diluted in water to get the different tones.
This was one of the last prints I made when I was working in the Fundación
Rodríguez-Acosta in Granada at the end of the 70′s. I used a mixture
of black, yellow and a touch of red inks, which gives the classic etchings
color which the Spanish call “bistre oscuro.”
Posted in Uncategorized | Tagged acid etching, Fundación Rodríguez-Acosta, Granada, Maureen Booth, printmaking courses, printmaking in Spain, Spain, Tormenta | Leave a Comment »
Our best-loved dog was a magical toy-terrier bitch, one of the first after our changeover from big breeds (great danes, and Spanish mastiffs) to little ones (pekes, yorkie crosses, shih tsu halfbreeds). I never fully forgave Mike for naming her Chichirriqui. He thought it was a playful name. I thought it was disrespectful for such a serious little person as Chichi, who could sit on a chair with her chin on the table and keep everybody enchanted just by cocking her head, flashing her eyes and flicking her ears first in one direction, then another. She was a delightful little one-dog circus with a wide repertory of such techniques for keeping people’s attention properly centered on her: bundy jumps, pa’ ca pa’ yas, spin arounds and shivers. Continue Reading »
Posted in Uncategorized | Tagged best loved dogs, Maureen Booth, printmaking in Spain, printmaking techniques, solar plate prints from old sketches, telephone doodles | Leave a Comment »
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Posted in Uncategorized | Tagged Chicago Printmakers Collaborative, Deborah Maris Lader, small print show | Leave a Comment »
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