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Posts Tagged ‘printmaking workshops’

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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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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Maureen Booth, editionA Few Basic Notions to Keep in Mind During Hard Times

Keep Working
Even if you don’t have the time and resources to paint or make prints, keep drawing. Everything and everywhere, at every free moment. This activity will not only hone your hand and eye, it will boost your morale. You know how low you feel after a couple of days without making art. Don’t let that happen. All you need are paper and pencil. The Spanish have a saying: “Feliz como un tonto con un lápiz…” ”Happy as an idiot with a pencil…” (more…)

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What Can Working Artists Do When People Stop Buying Their Work?                     by Maureen Booth

Maureen Booth in her printmaking studioThe End of the World?
For whatever reasons—investment banks, hedge funds, corrupt politicians, permanent war, the beatification of greed—most of the world is in an economic tailspin. For working artists, perhaps the most vulnerable species in the food chain, this has led to an almost total cessation of sales. Is this the end of their (your) world? Sometimes it feels that way. What to do? I confess I’m not sure what you should do but I trust you’ll bear with me while I make a few observations and suggestions from my own experience. (more…)

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Barbara Milman working in my studioIt’s 9:00 a.m. and we’ve just finished signing the last of her prints. She and I are both delighted with what she’s achieved over the past week. Barbara, a longtime resident of the San Francisco area–and ex-president of the California Society of Printmakers–had never done any solar-plate printmaking before, but it didn’t take her long to see the light. (more…)

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