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I like to have things sort of organized and I really like to have everything within reach and ready to work. Sometimes creating studio energy begins with cleaning up, organizing or simply looking at old and unfinished projects...or a juicy chunk of wood! Here is roughly how my studio is organized and some toys that make printmaking easier. This way please...
Click on any image to enlarge and see all the gory details; close the image window to return to this page.
To
your left is where it all begins, appropriately named "the
prep table",
I tend to scatter new and future project materials across it to get the juices
flowing. I sketch, think, paint, stain blocks, cut magazines, some times sand
and carve on it. I also lay a glass ink slab on it and use it to hand-proof
engravings and other small prints.
Front/left is a book press that I use to flatten and/or mount prints and other assorted squashing activities. Immediately to the right is a corian block awaiting its final coat. Looks like sumi ink and walnut ink are right there awaiting the next new block. Let's take a closer look...
Ah, yes, here to your right there are the carving tools neatly rolled up in their canvas carrier. A couple of strange blocks that I plan to use for stranger landscapes. Also about three blocks that have been finished and await the "framing department" to get its hiney in gear so they can go out to market. And in the grocery bag are fluorescent bulbs for my track lights, so I can save power energy, burned bulbs and thrown fuses. Go ahead and click on the image for larger detail and if there are any mystery objects, feel free to ask.
Turn
to your left again to view where the wood chips go-a-flying! The inclined
carving surface has pegs to hold the block and gripper stuff so it doesn't
slide while I cut. That particular block is around 18" x 24" ( 45
x 60 cm) and is about the largest it will accommodate. The wire legs allow
me to quickly incline more or less depending on how sleepy I am--I mean, how
I am sitting or standing.
To the right of the carving support, there are a couple of blocks with designs ready to carve and a home-made leather bag for cutting engravings. The broom/brush hanging at the bottom are handy for sweeping away wood chips and dust.
More to the right of the picture, there is an assortment of rotary tools, a Foredom engine with "pen" attachment and a couple of Dremmels. They hang on their stand and allow me to just grab and carve those random and strange marks that I need sometimes. The Foredom is pedal operated.
Above and behind the bench are some assorted tools, wood fillers (which I NEVER have to use), reference books and godknowswhatelse (technical term for godknowswhatelse).
Carving
all done, we move over to the right and see the press, which is a Dan Patrick
hand-made beauty (company now owned by Thomas Presses). I usually lay the ink
slab right next to it on the framing table.
Behind the press are assorted rolls of paper in a very poorly home-made paper roll stand but when I saw the prices for one of the real ones I almost died laughing. On the floor are tell-tale signs that I'm starting a new hobby, a few chases and letterpress stuff recently acquired along with my Ben-Franklin-Gordon press which you will see later.
Behind and to the left are some frames and framed works waiting their turn to be shown at an art festival.
Left
and close to the ceiling is a close up of my clothespin rack for drying prints.
Basically, they are closet wire shelves that I have hanging from bike hooks.
The pulleys allow me to lower to my height (or anti-height, as you might prefer) so that I can quickly hang the prints as they come off the press. Once I am finished with printing, I raise the pulleys and the prints are out of the way.
The arrangement of shelves allows me to dry around 600 prints at one time, which I have never had to do. Any size of print can be pinned up there; I use two or three parallel clothespins for larger prints and one for small prints.
Nuff of that.
Next to the right is the framing table, recently dehaired (I have studiocats). Up front and center is my workhorse mat cutter, an Logan Simplex Plus 750 model. I jot down the mat measurements when I first frame a print, that way I can quickly refer to my file when I have to mat again.
Other than sharp blades and window cleaner, the matting/framing station is simple. I keep a measuring/cutting plastic mat on it at all times for quick measurements, centering of prints, etc. They can be purchased at any sewing supply store.
I buy ready made frames, both assembled wood and unassembled metal depending on my preferred decor for the season and keep framing simple and consistent to please my collectors. I hate matting and framing, by the way, but the tasks are a necessary evil when making a living as an artist.
That's
about all there is to the studio! I keep finished prints in the "green monster"
to the left of the left picture. I bought the flat files fairly cheap used
from the web.
The oak files next to them are handy-man-made and contain a variety of exciting unprinted papers.
The smaller mail sorters in the right picture are from an office supply store and handy for filing all my smaller prints.
Almost forgot! Here is my new very old platten press for letterpress work and to print engravings. I plan on cleaning it up, accessorizing, and perhaps print a booklet or three during the summer months.
I hope you enjoyed the tour, come on by anytime! I'll put you to work, of course.
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