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Posts Tagged ‘Maureen Booth’

Granada-based master printmaker, Maureen Booth, announces her new Printmaking Master Classes line of printmaking learning videos, now available for download. (More info here.)

Shooting the Printmaking Master Classes videos in Maureen's studioGranada, Spain, September 6, 2011—A British-born fine-art printmaker who has lived two thirds of her life in Spain has just launched a new series of printmaking tutorial videos. She calls them her Printmaking Master Classes and with them hopes to help fine-art printmakers “take their printmaking skills to the next level.”

Maureen Booth is well known in international printmaking circles, both as co-founder of the World Printmakers printmaking-resource site and as an artist, educator and art activist. “These new learning videos are just a continuation of the teaching I’ve done during most of my life as a printmaking professional,” says Maureen. “Since inaugurating my Gallinero artists’ residence a year and a half ago, and working with printmakers from all over the world, I’ve become aware of what today’s artists are looking for and what they need in terms of techniques and skills. Thanks to this video project designed by Spanish video producer Juan Carlos Romera, artists from all over the world now have access to my printmaking workshops. I find that very exciting.” (more…)

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Anglo-Spanish artist, Maureen BoothGranada, Spain, August 25, 2001–With her soon-to-be-released collection of Printmaking Master Class download videos, Granada-based Anglo-Spanish artist, Maureen Booth, is taking the next step in her 30-year career as a fine-art printmaker, editor and educator. “For the past couple of years, ever since we built my Gallinero creative residence, I’ve been teaching more printmaking workshops than ever,” says Maureen. “Artists arrive from around the world to do workshops and one-on-one collaborative printmaking projects with me. Unfortunately, there’s not enough time for me to attend everyone. Also, as my studio is located in rural Spain, I’m a bit out of the way for many artists who want to perfect their printmaking techniques. So these videos are a way of reaching those people.”

The first step in the Printmaking Master Classes project was to shoot the first five videos and a trailer in Maureen’s Pomegranate Editions studio, located in a village in the foothills of the Sierra Nevada mountains outside of Granada. The trailer will be posted on YouTube and other online video platforms with free access in mid-September, 2001. The full-length videos will be offered for sale as downloads. “If these first five videos are successful,” says Maureen, “we can make more. Every time we do a video recording session new ideas arise.”

Maureen Booth, master printmakerThe five videos are entitled:

  • Make Prints Like the Old Masters–Traditional Printmaking, Part I
  • It’s Easy to Make a (Bad) Solar-Plate Print–Solar-Plate Printmaking Secrets
  • Nice Plate, How Are You Going to Print It?–Creative Printing
  • The Fine-Art Printmakers Logo–How to Make a Chop
  • Turning Epoxy Solder into Art– Liquid Metal Printmaking

The idea for the Printmaking Master Classes project came from filmmaker and video producer, Juan Carlos Romera. “We’ve been friends with Juan Carlos for many years,” says Maureen. “A few years ago I played the part of an English printmaker who falls in love with a Spanish fisherman in Bive, one of Juan Carlos’s short films. So, a few months ago he shows up with an ambitious new project to make printmaking instruction videos and offer them as downloads on Internet. One cup of coffee later we were partners.

Maureen Booth, from Manchester, U.K., has been making fine-art prints in her Granada studio since the early 1980’s. In those 30 years she has passed through all the stages of a young artist’s progress from beginner to master printmaker and editor. “I was lucky in the beginning,” she says, “to be selected to study in the etching workshop of the Rodríguez-Acosta Foundation in Granada. I was actually doubly lucky as I worked under the guidance of the maestro José García Lomas. Pepe Lomas was the ideal mentor, a gentle soul and a true European master, formed in the some of the finest Italian and Catalan print studios.

Maureen's presentation for her "Making a Chop" videoAfter the Rodríguez-Acosta Foundation workshop closed in 1981 Maureen had the opportunity to purchase one of the etching presses with all the trimmings—custom-built tables, flattening press, drying racks, rollers, inks and papers—and set up her own printmaking workshop in her painting studio at home. Printmaking soon took over.

Maureen’s desire is that these new videos might be useful to both amateur and professional printmakers, and that they might make a small contribution towards extending printmaking culture among artists and art lovers around the world.

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Juan Carlos Romera, filmmaker and video producerFrom Maureen Booth, Granada, Spain, August 12, 2011–Juan Carlos Romera is an old friend of ours. He’s also an award-winning documentary filmmaker. When he showed up at our house a few months ago with a new video project, I wasn’t surprised. What was surprising was that he wanted me to be a partner in it.

Juan Carlos, who has always been fascinated by etchings, already had the plan worked out. Between the two of us we would produce a series of on-demand fine-art printmaking instruction videos. This would be a ideal way to extend the essence of my printmaking workshops to printmakers around the world, and it would also be an educational initiative aimed at fine-art print lovers and collectors. It sounded simple enough but, as we all know, nothing is as simple as it sounds. (more…)

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Cathy Naro and Maureen checking some of Cathy's printsI remarked here recently that the artists who come to Granada to work with me usually limited their activities to printmaking and the obligatory visit to the Alhambra. But after Chicago printmaker Cathy Naro’s visit that has changed. Cathy, with a bit of forethought and a sense of adventure, fitted everything in. (more…)

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Maureen Booth in her Granada printmaking studioThe system of numbering and documentation of fine-art editions is designed to guarantee the authenticity and originality of prints in the art market. Each print is signed by the author (usually, but not always) in the lower right-hand corner or margin. In the opposite corner goes the edition numbering, two numbers divided by a slanted stroke. The bottom number represents the total number of prints in the edition; the top one the order in which the artist has signed that particular print. (more…)

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El Gallinero, looking through the kitchen/sitting room past the French doors to the terrace into the bedroom/workroom.4.   The Focus—When is the last time you’ve had two or three weeks with nothing to think about, nothing to spend your time on but art? It sounds like a dream, doesn’t it? But that’s what happens to people when they arrive in Granada for one of my printmaking workshops. This is especially true of the artists who come to do one-on-one collaborative work with me. Their involvement here is total, their existence almost monastic. They divide their time between the creative cloister of the Gallinero and my studio. We usually work together for five hours each morning. Then, after lunch, they make their own hours, either working in the studio or sketching glimpses of the village and the surroundings. Some of them stay in the studio past midnight. (more…)

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Maureen Booth's "El Gallinero" artists' residence in Granada, SpainMaureen Booth, Granada, July 18, 2011–I’ve had artists coming to stay in my “Gallinero” artists’ residence and work with me in my printmaking studio for a year and a half now. I’ve welcomed all sorts of people: working artists, advanced beginners, people between the ages of 15 and 82, a Canadian return-to-art person, a couple of delightful veteran artists and art educators from Colorado, a Hungarian sculptor, an Australian painter… All of them have taught me something, and I’d like to think the experience was mutual. And there’s one thing they all agree upon: Printmaking here in Granada and staying in the Gallinero is a unique creative experience. That compels me to try to figure out what makes it so. I’ve made a list of possible factors: (more…)

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Lou Netter and Maureen in the studioMaureen at work in her studio

An article by Maureen Booth in the summer 2011 edition of Printmaking Today, the British fine-art-printmaking magazine with subscribers worldwide which is celebrating its 20th anniversary this year (more…)

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Maureen and Cuca in the studioThe Mother of All Communications Tools

If you’re interested in having mathematical laws work in your favor—and you are—you’re going to have to brush up your Internet skills a bit beyond sending emails and logging onto your Facebook and Twitter accounts. You should at least know how to create and maintain a blog. This is fun and easy, once you surmount a not-too-steep learning curve. I cannot overemphasize the importance of Internet for artists. A dozen years ago, when my husband proposed to make me my first website, I said, “What do I want a website for? I’m an artist.” Today he’s at work on his seventh (Or eighth? I’ve lost count.) printmaking website, some of which are exclusively mine, others in which I participate with other printmakers and studios. Today 90% of my living comes either directly or indirectly via the Web of Webs. (more…)

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Lorna Burden's article on solar-plate printmaking with Maureen Booth

Lorna and Maureen review Lorna's production of solar-plate prints.Lorna Burden, the Australian printmaker and art student, who was here working with me in the month of March, has published an account of her experience in On the Edge, a new magazine “a collaborative effort of the Advanced Diploma of Creative Product Development Students of NMIT (Northern Melbourne Institute of Technical and Further Education.“) The content ranges from original art to art-travel experiences, essays and music commentary.

Lorna’s article is very generous, both with me and with the solar-plate printmaking process, which she took to like a duck to a goldfish bowl. Though she was only here for three days, en route to England to visit family, she took home a portfolio of  lovely solar-plate prints with which she took some delight in surprising her fellow NMIT students. She’s promised to come back next year for a longer stay. We’ll see if we can conjure up some more surprises.

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