Some videos in no particular order. But all showing some of the things we get up to in our workshops. By day 3 all sorts of weird papers start coming out, I dig deep into the drawer and found some super thin handmade Japanese papers and we printed on them straight with no backer. This workshop was a lot of fun and we were shocked at how quickly and effortlessly we moved through advanced printing techniques. This was a great start to the workshop season. We can’t wait for our next one in June!
That’s a wrap on our first workshop of 2026! We had so much fun working through this medium with Cam, Tommy and Stan. The work that was produced was really level. There was a lot of playing with colors and papers, but ultimately some amazing finished prints. Each attendee really got a sense of what this medium was capable of and they were able to take it on and get some phenomenal prints out of it. We cannot thank these three artists enough for coming out and learning with us. We are super excited to see where each of them take this process as they begin to push it and mold it for their own studios.
We always love day 2 of our workshops. Folks push things, try things and just get a ton of printing done. There were some absolutely beautiful prints made in the studio today. Some great tests, some failures and a lot of playing. Thanks for coming out to our studio and working with us Tommy, Cam and Stan.
A lot of people who take our summer workshops want to know how we do what we do. While our workshops are focused on the printmaking side (how to ink and wipe a plate and pull a photogravure), the core of what we all use is really advanced inkjet printer stuff. We have both been inkjet printing since the very early days. This is not just direct to plate photogravure! We helped invent the MK carbon ink that runs the black channel in our studio. And we use (and teach) these techniques and workflows. We also print unique monochrome inkjet work for artists world-wide. It’s something we rarely highlight on social media. At the core of it is this modified P9000 printer and a willingness to push the material and technical boundaries of available machines. #newschool #oldschool Also we are both tired dads with sore backs and don’t want to bend over picking up prints and plates all the time. --- For those wanting to apply these techniques to their own studios, we offer this type of stuff in our studio setup workshops (usually remote, sometimes in-person).
This is a follow-up to our previous post on how to do “production chine-collé” with polymer photogravure plates in a real-world setting using Duralar as the lay-down backing for pre-glued gampi or kozo sheets. We teach this in our summer workshops here in Cabot Vermont. This particular print was for @sara_silks in an edition of 50 titled “Encountering Isamu Noguchi” from her Studies of Women series. The print we pulled in this video was actually the first one of the run (a “state of the plate” proof) and we modified the ink viscosity and humidity of the kitikata paper in later pulls as there was a minor amount of stick in this pull. Kitikata has lots of hairs! Tissue and misted Evolon paper were used as the humidity application on the stack of Kitikata prior to print pulling. Audio is just printmaking #asmr sounds.
Photopolymer gravure and chroma collé, day after day!!!
some bts of my time at this otherworldly studio printing my Division III thesis. thank you thank you for sharing the love you have for this craft - it’s absolutely infectious. I feel to lucky to have gotten to spend such concentrated time on this project in the most passionate space ❤️
There was a great write up about the Brooklyn Fine Art Print Fair in Whitewall.art check out the whole article on their site. They had a great write up about our studio, really go what we are all about. We cannot wait to get going on all of the new projects we will bring next year.
At Prints on Paper we have developed a chine-collé method we’re loosely calling “production chine-collé”. Because we are so small (the two of us do everything) and we are starting to get a lot of requests for this printing method, we need to be able to pull like 20-40 of these types of print per day. Otherwise the cost for an artist and the labor cost to us would be just prohibitive. Normally this method requires glueing and cutting and hair-drying the thin gampi/kozo paper directly on an inked plate. But we discovered that if you make a 1:1:1 combo of methyl-cellulose, rice, and refined wheat paste glues you can brush this to duralar and then pre glue to paper. The paper dries overnight and any natural wet-ripples completely flatten during the drydown shrink. When printing we just slightly wet the print surface of the paper and then place the plate ink down, cut to edge, flip onto press bed, pull the backing duralar, and cover with the printmaking paper. Then pull print and repeat. It’s fast and clean and exact and very durable. Today we are prepping a bunch of green kitikata paper for an upcoming @sara_silks edition. We are totally stoked to print her work!
Come check out our booth on the final day of the Brooklyn Fine Art Print Fair. Booth H3! This fair has been so amazing thanks so much to @annshafer7 and @luther.printshop for putting this ON. Last chance to see these prints installed on the wall for a while! Come say hi and grab a print at @powerhouse_arts
