The Print Project: Working with a Master Printer – Part 2

Below is a continuation of my experience of working with Master Printer Tim Sheesley at Corridor Press in Otego, New York. You can read Part I by clicking here.

Tim in his Spot.

Tim in his spot.

I believe that one of the reasons we were able to accomplish so much in a short period of time was due, in part, to my planning, but in a larger part due to Tim’s organization and economy of movement.  His studio is set up, just as with a short order cook, with everything at hand.  Tim stands in one spot in the studio with two glass slabs in front of him, his inks to his right next to an old Uline catalog that serves as paper on which to clean his palette knives, rags below him, solvent to his right, the press behind him, and printing paper to his far left.  He didn’t move more than three feet all day.

Old Uline catalog used as scrap paper.

Old Uline catalog used as scrap paper.

I, on the other hand, walked miles, as I found a spot across from him to watch as he mixed colors and then moved to the other side of the room to watch the print being rolled with ink.

Tim Inking Plate

Tim Inking Plate

Tim and I worked through all the color permutations.  There were several points where we would have loved to have stopped,  because the results were so beautiful.  It was time to add the black that depicts the branches. This was the final step, the last layer of color. He pulled the first print and THUD! Disaster! Worst print of the day.

Tom looked worried and disappointed.  I think he was afraid that I’d be devastated.  Instead, I felt that the print confirmed what I had felt ever since seeing the first tentative proofs weeks earlier  —  the black just didn’t work.  In paint and even in the computer  generated image, the black acted like a gestalt – stunning and integrated into the overall image.  In the print, the black sat on top of the page both dwarfing and destroying the colors beneath.  It might as well have been a black and white print.  Tim and I both thought that switching to a middle gray would accomplish what I was after.  Even within the gray you can have a range of color, and I wanted the gray skewed toward lavender.

Pantone

Pantone book, oil paint sample and computer generated image.

This is when Tim finally pulled out the Pantone book. This is the printer’s Bible. It contains every color he can mix with his inks, and gives him the formula to do so. I flipped through the color samples and pointed to the color I wanted.  The improvement was immediate and dramatic.  It quickly became apparent that the other color versions of the print could also use gray, but the value of the gray would have to be adjusted to work with the other color versions.

Getting exactly the right shade of gray (don’t even go there) was as much work as determining the other color combinations.

As we printed each layer we were both delighting in the detail. But here is the truly confounding result: it seemed that the print would have to be viewed  from about 18 inches for them to be appreciated.  That is exactly the opposite effect of my paintings, which look best when viewed from across the room.  The paintings look painterly close up (down right messy, in fact), but at a certain distance they snap into focus and look almost photo realistic.

When we added the gray to the print Tim and I found ourselves backing up across the studio.  The prints were still reading well from twenty five feet away.  We managed to produce the same effect in the print as in my paintings.

Once we saw these qualities in one print, it was a matter of bringing that effect to all the prints.  Sometimes remarkably small adjustments made the difference between reading the print as color and reading it as light.  This is where the skill and integrity of a Master Printer makes all the difference.  The work is demanding and exhausting.  At the eleventh hour, Tim was still willing to mix one more color and make one more adjustment so that I could see if we could perfect the print.

A great Master Printer hangs in there with you to the end. When your energy flags, he shores you up, so that you can produce the best work possible.  Tim told me over and over that it was about my vision, and he did everything in his power to make that happen.

Tim Sheesley

Tim Sheesley

 

 

The Print Project: Working with a Master Printer – Part 1

Tim Sheesley Corridor Press

Tim Sheesley in the print shop.

In early December I spent two days at Corridor Press in Otego, New York, working with Master Printer, Tim Sheesley.  In two twelve hour sessions we were able to put together proofs for a suite of four prints that were inspired by my painting “Almond Tree – Biot”.

I was blessed with beginner’s hubris.  Creating a print with just the right color, using four plates would have been project enough for one day.  To get four of them completed in two days was an insane proposition.  This is where the experience of a Master Printer made all the difference.

I had worked out all of my color combinations ahead of time. With the help of graphic designer Chelsea Nye, I made a virtual print in Photoshop.  We generated computer swatches of color for each plate, which I then converted into color samples made in oil paint.  I sent my color swatches, along with the names of the oil colors I used, to Tim and he made a sample print from these instructions.

matching colors

Matching Colors

What I did not know was that a printmaker’s palette of litho-inks is not the same as a painter’s palette of oil colors. Lithography inks must be transparent. Some of my oil color pigments are  opaque and cannot be used in lithography ink. For example, none of his blues approximate ultramarine blue, a color I use extensively. He was able to mix a blue that looked very much like ultramarine blue, but it didn’t have the purity or brightness of my blue. The mixture of colors had dulled the effect.

Tim is not only a print master, he is a color master. He mixed any color I gave him perfectly.  However, as with the blue, occasionally there was a limitation inherent in the pigments available.

Palette of Lithographic Inks

Palette of Lithographic Inks

 

 

 

 

 

 

 

 

Tim is used to working with artists who have a concept in mind and the expectation that they will be able to produce that concept exactly. In Tim’s experience, watercolor artists are the most insistent in this regard.  Tim was very concerned I would blow a gasket when I came up against the limitations of his palette.  What he didn’t know, was that secretly I was hoping to use this project to expand my experience  —  to find new and unexpected ways to interpret my work.  This road block was just the sign I was looking for to head off-road and see what adventures awaited me in the woods.

The first step was a tiny one —  abandoning my concept of ultramarine blue for one in his palette that could give me the quality of light I was after.  But changing one color has a domino effect — all the other colors had to be changed to work with that color.  If it is the 3rd color you have added to the print, it can cause mayhem.

Tim Mixing Ink

Tim Mixing Ink

In this process you start with one color, then try to make the next one work with it.  The third color has to work with the first two and so forth.  This is a tightrope walk, especially when everything about your print is an expression of color.

Ink Samples

Tim folds the mixed wet ink into aluminum foil with my name, print version name, plates number, and color mixture listed on the outside. At the same time he makes a running list with the same information on a pad. This way, when he remixes the color he can compare wet color to wet color and not wet to dry, which would be different.

As a painter I noodle and adjust colors all the time, sometimes scraping up a color from a palette of a previous painting and using it in a new one.  That can’t happen in print making, because you have to be able to replicate the color perfectly for each print. Each color you use must be recorded with a formula and connected with that specific print, as well as with a certain plate from that print. You have to record all of this information for each mixed color, whether or not that color is ultimately used. This is because you may make several versions and compare them before you settle on the perfect color combination.

We were not doing this for one print, we were doing this for four! But we did not do one print at a time. Since the prints shared colors on certain plates, we were doing all four versions at once. That we both didn’t get a migraine is a small miracle,  although I noticed that at the end of the day, we were both unable to put a sentence together, as simple words escaped our memory.

 The Print Project: Working with a Master Printer – Part 2 Click Here

 

 

 

 

 

 

 

 

The Print Project: First Meeting with Tim Shesley at Corridor Press

Tim Sheesley

Tim Sheesley at Corridor Press

 

After spending the night at the home of artist Ashley Cooper and her family in the surprisingly beautiful Cooperstown, New York, I headed over to the rolling hills of Otego to meet with Tim Sheesley at Corridor Press.

Tim  showed me samples of other artist’s work to give me some ideas of how I might use the medium in my own work.  I was thinking a lot about this myself.  The research I have been doing over the last weeks not only into lithography, but also other forms of print making, made me think how I might best use the medium to expand what I was doing in paint. But until I get my hands dirty, I am not really going to know what will work best for me.

Sondra-Freckeltonf

Sondra Freckelton copyright © Sondra Freckelton, 2009, “Braid and Tea Pot “, original lithograph from stone and plates paper size: 11.25″x13” printed in an edition of 42,   paper Rives BFK white

 

I am especially interested in the ways I can use print making to explore the use of color in my work. There are two ways of going about this (I am sure there are more, but these are the ways that most interest me at the moment). One is to use what printers call “process” color. That is to break down the image into CMYK – cyan, yellow, magenta and black. This is also the way the color is broken down to make a straight forward reproduction of a piece.  When an artist uses this method of separation, its a little like math for artists, as they have to think about the layering of colors to achieve a full color variation.

The other way to approach the print is to pull particular colors from the original and lay them down distinctly, one next to the other. There can be some mixing, of course. But since you may not have the elements of a color wheel — red, yellow, blue — but colors like umber, lavender and ocher, it is far more likely that you would lay them down next to each other and not over each other.

I love seeing how artists use lithographs and all the variations involved:  the type of plate, the quality of ink, color of paper, and the drawing medium.

Here is a video of Tim showing me how Sondra Freckelton produced the print pictured above.  I took the video without looking through the camera, so that Tim wouldn’t think about it while talking to me. Please forgive the occasional missing head.  Video of Tim Sheesley.

You can check out the prints of the artists featured here at Tim’s website: Corridor Press.

Books of interest:

[amazon-product]0811862283[/amazon-product]

[amazon-product]0819483249[/amazon-product]

Or order from your local independent books seller. Mine is Battenkill Books. Find the independent bookstore closest to you at IndieBound.org

The Print Project

Corridor Press

 

In April I will be working with Tim Sheesley, the owner and master printer of  Corridor Press, a collaborative professional lithography studio in Otego, New York, where I will be creating a set of color lithographs.

 

Richard Haas, "Flatiron Building"

Richard Haas, “Flatiron Building”

I haven’t made prints since I studied with artist Richard Haas and master printer Catherine Mosley at Bennington College.  Cathy made many of Robert Motherwell’s prints.

 

At that time I was an utter failure as a printer.  Once I pulled one copy of the print, I didn’t see the point in making another.  The very essence of printmaking escaped me. In those days, I took abandoned etching plates with someone else’s images on them, to the sculpture shop, where I cut them into shapes and defaced them with an oxyacetylene torch.  With little regard to the damage such a plate might do to a press I made a print, and before making another I would alter the plate again. (Perhaps I shouldn’t be sharing this information before I work with Tim.)

Parke Print a-1_edited-1

Leslie Parke, etching made with used plate,  band saw, oxyacetylene torch and grinder.

Moving to a new medium is never really about replicating what you do in another medium.  While there is imagery in my painting that I’d like to explore in lithography, I am not interested in replication, but in a conversation between these two mediums.

 

Is there a painting of mine you would like to see re-imagined in print? I was thinking of working with the tree paintings, but I would be interested in what you think.  Drop me a line, if you have a suggestion.