Items from two distinct collections; both are endless, at least to me. I see no ending.
They began in the film-age.
The wag in me says: am ever so glad I waited to do anything with these… about the snow&ice items, except, they don’t actually get better sitting in a drawer, or on a hard drive. Pictures rarely have an expiration, for me. They don’t change; I do.
Many artists early work is better than later; some make their early work later in life, giving the false starters false hope, extending the myth of late bloom genius. Early experiments, explorations, these things cost less in the course of a career, as long as they aren’t detours. Most detours are merely pencil sharpening; they produce shavings, only.
Every hack at a stone isn’t a worthwhile uncovering.
In new country may mean new clothes. Printing and printmaking are different. They began in different places, and diverged into different schools — education of the doers. Some of the words may sound the same. They aren’t.
Works on paper is the big arch. The base of the image is a paper, that very old fundamental object. It is quite nice on its own. So nice, that many are makers of paper; done. that is all that is needed. Make the paper. Show the paper.
Others, most of us, put something onto that paper. Photographic prints are on very limited range of papers. Hand-coated emulsions extend that range, as does digital printing. In fact, many digital printmakers chose that method because of the range of paper surfaces. Some of the most ardent devotees of the chemical cult do so because they dislike, disapprove of the paper surfacing above the plastic sheen of 20th Century Gloss.
my first paper for litho back in school. for alt prints requires acidification.
Papers used for alt photo as well as printmaking
These are papers that are proven to work well across processes. find a vendor, then get samples to test in your work conditions. Your water, workroom conditions of temperature and humidity. How well they dry. How well they coat. How well, and comfortable you are in their use.
One size rarely suits all printmakers. Chemical Printers are confined to accepting that which is commercially, meaning widely acceptable. That is, the “classic” look of “air-dried” gelatin. Or, the commercial Glass Gloss display print. They don’t have much choice. As a printmaker, you do. Make the most of that …
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