Print of my otter linocut that I created for the 2016 Roadworks Steamroller Printing Festival, sold for the benefit of the San Francisco Center for the Book. This was printed yesterday by being run over by a 12 ton steamroller!
I also became aware that it is Sea Otter Awareness Week! They are one of my favorite Bay Area animals.
The papers of the great science fiction writer Octavia E. Butler are here at The Huntington, and we are super excited to team up with Los Angeles arts organization Clockshop (@clockshopla) on Radio Imagination, a yearlong series of events celebrating Butler’s life and work. The project centers on a series of artist and writer commissions to create new works based on the Butler archive here at The Huntington. Other partners include the Armory Center for the Arts and the Library Foundation of Los Angeles’ ALOUD series.
Artist: Seripop and Sonnenzimmer (Yannick Desranleau and Chloe Lum with Nick Butcher and Nadine Nakanish) Title: Simultaneous, 2015 Medium: Offset, Saddle Stitched with 2-color screen printed cover Size: 7" x 9" Pages: 32 Edition: 250 Publisher: Sonnenzimmer Printer: Interior by Lowitz & Sons, Cover by Sonnenzimmer Printed In: Chicago, IL Published in conjunction with Simultaneous at Columbia College’s Center for Book and Paper Arts February 12th through April 11th, 2015
When I was at the Minnesota Center for Book Arts for a class recently, these were floating around - of course I had to grab one! Initially I thought it was a photocopy (although the paper was awfully nice to be a photocopy), but when I was applying some Mijello Blue watercolor to it last night, I realized it was definitely letterpress printed. (No impression from the type on the back, but it was definitely printed with rubberized ink.)
I applied the watercolor with a mop brush and when the paper was wet, I started using a crumpled paper towel to both blot up excess water and leave some nice marks.
Of course I saved the paper towel. Of course it will be coming to an art journal page near you soonishly! :)
In the evenings last week while I was taking Intensive Bookbinding from the Minnesota Center for Book Arts, I had a surfeit of bookbinding energy, so I put together these coptic-bound journals. The one on the left features one of my gelli prints on the front and (not pictured) a nebula from an astronomy calendar on the back. The one on the right is covered with scrapbooking paper. I added spacers to both of them. (Spacers are little stubs of paper bound in with the regular pages to reduce that art journal foredge splay). The spacers also hide the crazy papers I used for the pages - graph paper, a cut-up atlas, etc.
Osamu Tezuka (and studio) Astro Boy (Tetsuwan Atomu/Mighty Atom) original art page.
I love looking at original manga art, not that I’ve seen much of it in person or even in print or online. It seems like so much of it has been locked away from prying eyes – where is it all? In studios, in publisher’s offices?
Recently I was in the newly (re)opened Kinokuniya bookstore in the Mitsuwa shopping center in Edgewater NJ and they had a special Doraemon book that reprinted some comics and also included a beautiful fold-out reproduction of an original manga page printed on a different paper stock from the rest of the book. Lovely to see, if I had crazy money I would have bought it just for that page. I’d love to see an Artist’s Edition-style project showcasing original manga artwork (and crediting assistants, if it could be sussed out – I mean, hell, I’d love to see a website or something that credited uncredited assistants on every damned thing ever made, to be honest). Then again, where are the pages for such a project to be located? Maybe in a secret mecha production facility buried deep beneath beautiful Mt. Fuji.
Ha ha, I’m a stupid gaijin, forgive me.
Also forgive me if you’re the person who posted this image, I completely forgot where I found it and if I’m stepping on toes, I’ll remove it.
Virginia-based artist Eric Standley (previously) brings a whole new meaning to the term “cutting edge” with his methodical stained glass windows created entirely from laser-cut paper. Standley stacks well over 100 sheets for many of his pieces which involve months of planning, drawing, and assembly. The artist says his inspiration comes from the geometry found in Gothic and Islamic architectural ornamentation which he somewhat jokingly calls “folk math.”
Standley currently has work as part of “Fold, Paper, Scissors” at the Mesa Arts Center in Arizona, and is an included artist in the upcoming book Mandala Masterworks by Paul Heussenstamm. You can see many new pieces from the last several years on his website.
Virginia merkezli sanatçı Eric Standley ( önceden ) lazer kesim tamamen kağıttan yaratılan onun metodik vitray pencereler ile dönem “kenar kesme” için yepyeni bir anlam getiriyor. Standley planlama, çizim ve montaj aylarını kapsamayan onun adet birçoğu için de 100 üzerinde yaprak yığınları. Sanatçı ilham o biraz şaka yollu çağırır Gotik ve İslam mimari süslemelerde bulunan geometri geliyor “diyor halk matematik.”
Standley anda parçası olarak işi var “ Katlama, Kağıt, Makas "de Mesa Sanat Merkezi Arizona ve gelecek kitapta bir iç sanatçı Mandala Masterworks Paul Heussenstamm tarafından. Onun üzerinde son birkaç yıldır birçok yeni parçalar görebilirsiniz sitesinde .
This week’s Artvoice cover features Buffalo artist Maude White. White works primarily in cut paper to reveal beautifully intricate birds, elephants, people, and more. Each detailed piece is precisely cut to reveal a unique story. White’s fourth exhibition, Birds I’ve Been will be on display this Friday at the Western New York Book Arts Center. More of her artwork can be seen at bravebirdpaperart.com. We had the pleasure of talking to Maude about her artwork, her influences and what goes into making all those tiny cuts.
AV: What compelled you to start carving Paper?
Maude White: I’ve never been a book reader, but I collect books. In a way, I’m more fascinated by the weight and permanence, the constancy of paper, than I am interested in what’s written on paper. I started cutting paper because… continue reading.
I don’t like the standards that art and creation have today: If some expercts, who get tons of money for their ‘expert advice’….like your art or creation, then it’s supposed to be 'good’. If you don’t have money for paying such 'experts’, then your art or creation is not supposed to be worth the paper it is created on. Even art and creation in today’s society are centered all around the money, in case you haven’t noticed yet!