Podcasts about intaglio

Are “contact lens veneers” just fake news? Why is the traditional 0.7mm prep approach outdated? Are you truly preserving enamel in your veneer preparations? Should you ever bond veneers to root dentin or cementum after crown lengthening? Why is the Galip Gürel technique the gold standard for minimal prep veneers? https://youtu.be/5BEFD1XaZtE Watch PDP219 on Youtube Dr. David Bloom joins Jaz for an insightful episode, sharing his 36 years of experience in cosmetic and restorative dentistry. With over two decades in the same practice, he's seen what works—and what leads to failure—when it comes to veneers. We also cover the key steps in mock-ups, planning, and veneer preparation. Protrusive Dental Pearl:  Always Wax Up for 10: When planning veneers, start with a 10-unit wax-up (even if the patient initially wants 4 or 6). This allows them to visualize their full smile with a mock-up, compare different options, and make an informed decision. It's not about upselling - most patients will appreciate the fuller look. Key Take-aways: Health and diagnosis are foundational in cosmetic dentistry. Visual try-ins are crucial for patient engagement and satisfaction. Minimally invasive techniques are preferred for cosmetic procedures. Communication with patients about their options is essential. Bonding to enamel is more reliable than bonding to dentin. Permission statements help in guiding patient expectations. The transition from veneers to crowns should be carefully considered. Staining is not the primary concern when bonding to dentin. A change in surface texture is key in modern dental preparations. Visual aids are crucial in helping patients understand their treatment options. The Gurel technique emphasizes minimal preparation for veneers. Effective communication with patients can enhance their treatment experience. Understanding occlusion is fundamental in aesthetic dentistry. Veneer thickness should be as minimal as possible for aesthetic results. Patient involvement in the design process is essential. Cementation techniques can vary based on gingival health. Maintaining a facial path of insertion is important for aesthetic outcomes. Building a good relationship with lab technicians is key to successful restorations. Need to Read it? Check out the Full Episode Transcript below! Highlights of this episode: 02:56  Protrusive Dental Pearl 04:15 Interview with Dr. David Bloom: Journey and Expertise 11:54 The Importance of Enamel in Veneer Longevity 13:46 Prepless Cases and Visual Try-Ins 18:54  Permission Statement 22:24 Visual Try-Ins Protocol 25:13 Decision-Making: Veneers vs. Crowns 28:35 Bonding to Root Dentine and Long-Term Outcomes 33:34 Opening Embrasures: Techniques and Tips 35:19 Visual Try-Ins and Patient Communication 38:50 Wax-up in Occlusion 41:25 The Gurel Technique Explained 47:09 Black Triangles  49:40 Guidelines for First Veneer Case 54:10 Contact Lens Veneers 56:18 Cementation Preferences and Techniques 01:00:15 Final Thoughts and Educational Resources Need expert guidance on veneers and smile design? Join Intaglio Mentoring and connect with top mentors for real-time case support and level up your Dentistry. Dr David Bloom is also a mentor on Intaglio. Watch this space for David's new educational website coming soon - he teaches Veneers hands-on too. If you loved this episode, make sure to watch How to Temporise Veneers Step by Step FULL GUIDE – PDP214 This episode is eligible for 1 CE credit via the quiz on Protrusive Guidance.  This episode meets GDC Outcomes B and C. AGD Subject Code: 780 ESTHETICS/COSMETICDENTISTRY (Tooth colored restorations) #PDPMainEpisodes #AdhesiveDentistry Aim: To provide an in-depth understanding of minimal preparation veneers, focusing on enamel preservation, diagnostic workflows, patient communication,

In this interview with the director and founder of Lily Press and the Printmaking Legacy Project, Susan Goldman shares her passion for printmaking and documentary film making. Susan discusses her journey from discovering printmaking at Indiana University, Bloomington, to founding Lily Press and creating impactful documentaries like Midwest Matrix. She highlights her educational experiences, mentors, and the vibrant printmaking community she's built over time. Goldman also delves into her personal work, her love for screenprinting, and the balance of managing a studio while collaborating with renowned artists like Sam Gilliam. Her current projects include documentaries on Lloyd Menard and Rochelle Toner and exploring the evolution and impact of digital printmaking. Susan's reflections on the importance of documenting printmaking history and incorporating community and teaching into her work provide a comprehensive view of her dedication to the art form. Episode image: Erwin Thamm Midwest Matrix film: https://www.midwestmatrix.info/index.html Printmaking Legacy Project: https://printmakinglegacyproject.org/index.html IG: lily_press_studio IG: goldmansusan Spread from Journal of the Print World on Midwest Matrix. Rudy Pozzatti. Tracey Templeton, Wendy Calman, and Susan Goldman at Indiana University, Bloomington. John Whitesell. Circus, 1981. Three-color lithograph. 19 x 25 in. Published by Normal Editions. Susan Goldman. Squaring the Flower II, #15. Screenprint. 30 x 30 in. Printed and published by Lily Press, Rockville, MD. Installation shot of Susan Goldman's Squaring the Flower, McLean Project for the Arts, McLean, VA. Cory Oberndorfer inspects proofs of Six Frozen Treats (after Dine) at Lily Press, Rockville, MD. Elizabeth Martin Brown working on a Sam Gilliam edition at Lily Press, Rockville, MD. Renee Stout. The Secret Keeper, 2010. Etching. Plate: 7 x 5 in.; sheet: 15 x 11 in. Printed and published by Lily Press, Rockville, MD. Renee Stout working at Lily Press, Rockville, MD.  Viktor Ekpuk. Hip Sista, 2027. Screenprint. 30 x 22 in. Printed and published by Lily Press, Rockville, MD. Victor Ekpuk and Susan Goldman at Lily Press, Rockville, MD. Susan Goldman and Sam Gilliam at Lily Press, Rockville, MD. Dennis O'Neill in the shop at the Corcoran College of Art and Design, Washington, D.C. Lily Press booth at the Baltimore Fine Art Print Fair, 2023. Cory Oberndorfer. Six Frozen Treats (after Dine), 2023. Intaglio. Plate: 10 ¼ x 14 ½ in.; sheet: 21 x 15 in. Printed and published by Lily Press, Rockville, MD. Eve Stockton. Woodland Skyscape. Woodcut with watercolor. Sheet: 36 x 36 in. Printed and published by Lily Press, Rockville, MD. Eve Stockton working at Lily Press, Rockville, MD. Percy B. Martin at Lily Press, Rockville, MD. Photo: Duane Winfield. Lloyd Menard, founder of Frogman's Print Workshops. Rochelle Toner. Boost, 2009. Etching. 12 x 16. Courtesy of the Artist. Rochelle Toner and Susan Goldman filming their interview. Enrique Chagoya. Life at the Border of Language, 2023. Color lithograph. 21 ½ x 36 in. Published by Sharks Ink. Garo Antreasian. Y'es Em, 1991. Four-color lithograph. Sheet: 30 1/8 x 26 ¼ in. Published by Tamarind Institute, University of New Mexico. Leonard Lehrer. Powis, 1972. Lithograph. Sheet: 24 x 18 in. ArtworkArchive.com. Sam Gilliam (American, 1933–2022). 3 PM School Bus, 2018. Screenprint. 18 ½ x 51 ½. Published by Lily Press, Rockville, MD. Sam Gilliam (American, 1933–2022). 4 PM School Bus, 2018. Screenprint. 18 ½ x 51 ½. Printed and published by Lily Press, Rockville, MD. Sangmi Yoo. Common Ground, 2025. Aluminum etching. 20 x 15 in. Courtesy of the Artist. Keiko O'Hara at Lily Press, Rockville, MD.

‘Mentorship is more important than courses' - said lots of wise Dentists, and I think they're right! Do you have a mentor guiding you in your dental career? How do you know if you're making the right clinical decisions? https://youtu.be/5N0kj2YuFtA Watch IC058 on Youtube In this episode, Jaz is joined by Damian Panchal and Shivani Sadani to discuss the power of mentorship in dentistry. They explore why having a mentor can accelerate your growth, boost your confidence, and help you navigate complex cases with ease. They also introduce Intaglio, a brand-new platform designed to connect dentists with experienced mentors—so you can get real-time guidance, solve cases faster, and elevate your practice like never before. Listen in to learn why mentorship might be the best investment you make in your career. Key Takeaways: Mentorship is essential for professional growth in dentistry. Post-course support is increasingly important for new dentists. Real-world experience is crucial for applying theoretical knowledge. Investing in mentorship can lead to long-term benefits in practice. Effective mentorship can significantly improve clinical confidence and skills.  Mentorship is accessible and affordable for all levels. The value of mentorship lies in its application of knowledge. Mentors can help navigate career challenges beyond clinical skills. Relatable mentors can provide the best guidance. Learning from others' mistakes can save time and effort. Highlights of this episode: 00:00 Introduction 00:48 Introducing Intaglio: A New Mentorship Platform 01:45 Damian Panchala and Shivani Sedani - Personal Journeys 04:46 Mentorship Crisis in Dentistry 11:51 The Role of Social Media and Forums in Mentorship 17:41 The Value of Paid Mentorship 21:03 Exploring the Intaglio Platform 23:44 The Role of Mentors Beyond Clinical Help 31:05 Intaglio's Vision and Future Plans This episode is not eligible for CPD/CE points, but never fear, there are hundreds of hours of CPD waiting for you on the Ultimate Education Plan, including Premium clinical workthroughs and Masterclasses.

A thousand facets sits with Sian Evans, Jewellery designer, goldsmith and lapidarist. We talked about her beginnings in the jewelry industry, her 15 years creating her production line, then change to be a lecturer and Central Saint Martins and going back to her roots in the goldsmiths work to create a more thoughtful, slow collection! Hope you enjoy our conversation. About: Sian's work is inspired by interests in archaeology, fashion, geology, nature and sustainable technologies with a deep interest in storytelling. Her many jewellery collections over her career have taken some very different forms, stemming from ideas, ethics and heuristics. Some fashion lead, some materials lead and some process lead. Each of her collections in the last decade have been explorations of process in a long term project about sustainable working practices : Learning a jewellery technology, often, an ancient technology with a low carbon footprint, using recycled or found precious materials, then designing and making collections of jewels that incorporate these. This is her modus operandi and an act of reverence for our skilled, ingenious ancestors. She studied jewellery design, silversmithing and goldsmithing from 1982-86 at The Cass ( City of London Polytechnic - now London Metropolitan University ) In her Summer breaks she worked as a volunteer archaeologist in Dorset. Her first studio was established the year she graduated in 1986, in Spitalfields, London. In the ensuing years she designed and created in this first studio, the biannual collections shown at London, Paris and New York fashion weeks that she became known for. Then from her next larger studio, in Clerkenwell, close to Londons jewellery quarter Hatton Garden, she worked producing collections at the bench alongside her small team of craftspeople. These early collections sold internationally to many stockists and galleries, winning her export and design awards. During this period she was commissioned by designers including Jo Casely-Hayford and Paul Smith, to create lines for them, and by Costume designers for film and TV productions. Her work was regularly seen in the pages of newspapers, glossy magazines and on the ears and necks of TV and film stars. For 13 years she was Senior Lecturer at BA Jewellery Design, Central Saint Martins, University of the Arts. Her research focus: Sustainability and mining , Neolithic and Bronze age technology. Lithics and metalworking She left UAL at the end of 2014 to return to and pursue her design and creative practice. Since reestablishing her practice she has won several awards and accolades : Most notably, her work is in the V & A collection, she has exhibited and sold her work at Sotheby's. She is a Homo Faber Master Artisan. A Queen Elizabeth Scholarship Trust ( QEST ) grant in 2022 helped to extend her lapidary study, into the wonderful and ancient arts of Intaglio and Cameo carving . She has won a number of awards from the Goldsmiths Design and Craft Awards in different categories ranging from major design awards to awards for craft skills in lapidary. For the past few years she has presented her work annually at The Goldsmiths Fair, in 2024 she was selected by The Goldsmiths Fair and QEST to exhibit at Collect . You can follow Sian Evans on Instagram @sianevansjewellery , visit her website https://www.sejewellery.com/ Please visit @athousandfacets on Instagram to see some of the work discussed in this episode. Music by @chris_keys__ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Please consider helping to support WALKING WITH DANTE. You can help me cover streaming, licensing, royalty, hosting, and editing fees by donating whatever you can at this PayPal link right here.Dante goes on to find the last intaglio or relief carving in the austere, too-steep, marble wall of the first terrace of Purgatory. Here, he finds a scene between the Roman emperor Trajan and a sorrowing mother who demands justice.Demands it so much, in fact, that she and Trajan have a dramatized conversation, although they're carved into marble. Eagles soar. Knights tramp the ground. What's Dante up to?Join me, Mark Scarbrough, as we watch Dante the poet push the claims of realism to the breaking point to end at the moral crux of all of PURGATORIO: How do you balance justice and compassion?Here are the segments for this episode of WALKING WITH DANTE:[01:14] My English translation of the passage: PURGATORIO, Canto X, lines 70 - 93. If you'd like to read along or continue the conversation with me, please go to my website, markscarbrough.com.[03:07] The first major players in the passage: the Roman emperor Trajan and the widow at his horse's bridle.[05:19] The third major player in the passage: Pope Gregory the Great.[07:21] Trajan is named outright, although other reliefs use periphrastic phrasing to identify the characters in the marble. Is that difference important?[10:30] The passage picks up and alters the vendetta thematics from INFERNO.[13:01] The woman at Trajan's horse's bridle seems a middle ground between the submissive Virgin Mary and the haughty Michal: an actionable humility.[15:56] An interpretive question about the difference between history and story (or "istoria" and "storiata," to use Dante's words).[18:53] Mimetic (realistic) art relies on imagined details to bolster and enhance the realism claims.[23:45] The moral crux of Purgatory is the balance between justice and compassion.[25:36] Rereading the passage: PURGATORIO, Canto X, lines 70 - 93.

Today's crossword is entitled "Funny  Business", and it definitely lives up to its name. The themed clues were a stitch, and there were lots of intriguing clues, which we had a lot of fun with as well. So, for a guaranteed laugh a minute (or at least a chortle or two), we heartily encourage you to subscribe/follow (so you never miss an episode!), download, listen up, and ... enjoy!  Show note imagery: a Benjamina Ficus, in focus

In s3e36, Platemark host Ann Shafer speaks with printer/publisher and author Phil Sanders about the state of the ecosystem. Phil has a finger in nearly every pie in the ecosystem, so after a Platemark listener wrote in to ask about breaking into the publishing end of things, Ann turned to Phil.    They talk about the history of print publishing after the print boom quieted down in the 1980s, why the prices of prints are in need of revision, and how to read a Joan Mitchell painting, among many other things. Their conversation stretches well past two hours and so Ann split it into two episodes.  Phil Sanders. Prints and Their Makers. Hudson, NY: Princeton Architectural Press, 2021. Sara Sanders (American, born 1979). Ballinglen Wildflowers 1-11, 2022. Watercolor monotype. 11 ¾ x 8 ¾ in. (30 x 22.2 cm.). Published by PS Marlowe, Asheville, NC. Jasper Johns (American, born 1930). False Start I, 1962. 11-color lithograph. Plate: 44.5 × 35 cm. (17 9/16 × 13 13/16 in.); sheet: 76 × 56.7 cm. (29 15/16 × 22 3/8 in.). Published by Universal Limited Art Editions, Bayshore, NY. Jasper Johns (American, born 1930). False Start II, 1962. Color lithograph. Plate: 44.5 × 35 cm. (17 9/16 × 13 13/16 in.); sheet: 76 × 56.7 cm. (29 15/16 × 22 3/8 in.). Published by Universal Limited Art Editions, Bayshore, NY. Jasper Johns (American, born 1930). Bushbaby, 2004. Intaglio in 10 colors. Sheet: 43 x 30 in. (109.22 x 76.2 cm.). Published by Universal Limited Art Editions, Bayshore, NY. Amy Cutler (American, 1974). Cake Toss, 2004. 10-color lithograph. 21 3/4 x 24 in. (55.25 x 60.96 cm.). Published by Universal Limited Art Editions, Bayshore, NY. Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA. USEFUL LINKS PS Marlowe https://psmarlowe.com/ Phil's IG @phil_sanders_studio Phil's FB https://www.facebook.com/phil.sanders.printmaking

In s3e35, Platemark host Ann Shafer talks with Larissa Goldston, director and owner of Universal Limited Art Editions, usually referred to by its acronym ULAE. We talk about ULAE's founder Tatyana Grosman, and her harrowing escape from first Siberia following the assassination of Czar Nicholas, and then from the Nazis in France. Larissa talks about the early days of ULAE, growing up there, how they find artists to work with, and all her favorite print projects. Larissa‘s father, Bill Goldston, was its printer and director for many years. With his retirement, Larissa has taken the reigns. It's hard work, but the combination of the creative process and collaborative printmaking is where the magic happens. Larry Rivers (American, 1923–2002). Stones, 1957–59. Portfolio of 12 lithographs with poetry by Frank O'Hara. Each sheet: 19 x 23 1/4 in. (48.26 x 59.06 cm). Published by Universal Limited Art Editions, West Islip, NY. James Siena (American, born 1957). Backs, 2007. Set of 5 framed lithographs. Each: 23 ½ x 24 ½ in. (59.7 x 62.2 cm.). Published by Universal Limited Art Editions, West Islip, NY. Barnett Newman (American, 1905–1970). Untitled Etching #1, 1968–69. Intaglio with etching and aquatint. on J.B. Green Hayle Mill English paper. 22 1/2 x 31 3/4 in. (57.15 x 80.65 cm). Published by Universal Limited Art Editions, West Islip, NY. Lee Bontecou (American, ). Ninth Stone, 1965–68. Lithograph in 1 color on Chatham British paper. 20 in. x 25 in. (50.8 cm x 63.5 cm) Published by Universal Limited Art Editions, West Islip, NY. Helen Frankenthaler (American, 1928–2011). First Stone, 1961. Lithograph in 5 colors on Arches Satine paper. 30 x 22 in. (76.2 x 55.88 cm). Published by Universal Limited Art Editions, West Islip, NY. Cy Twombly (American, 1928–2011). Untitled I, 1967–74, 1967. Intaglio with etching, open bite, and aquatint on handmade J. Green paper. 27 1/2 x 40 1/2 in. (69.85 x 102.87 cm). Published by Universal Limited Art Editions, West Islip, NY. Jasper Johns (American, born 1930). 0 through 9, 1960. Lithograph on Arches paper. 30 x 22 in. (76.2 x 55.88 cm). Published by Universal Limited Art Editions, West Islip, NY. Jasper Johns (American, born 1930). Decoy, 1971. Lithograph with die-cut on Rives BFK paper. 41 x 29 in. (104.14 x 73.66 cm). Published by Universal Limited Art Editions, West Islip, NY. Jasper Johns (American, born 1930). Passage I, 1966. Lithograph on Italia paper. 28 x 36 in. (71.12 x 91.44 cm). Published by Universal Limited Art Editions, West Islip, NY. Bill Jensen (American, born 1945). Vanquished, 1989. Intaglio in 5 colors on Fabriano Esportazione paper. 22 1/2 x 17 3/4 in. (57.15 x 45.09 cm). Published by Universal Limited Art Editions, West Islip, NY. Terry Winters (American, born 1949). Knot, 2004. Lithograph in 4 colors on Rives BFK 280 gsm paper. 22 x 30 in. (55.88 x 76.2 cm). Published by Universal Limited Art Editions, West Islip, NY. Carroll Dunham (American, born 1949). Accelerator, 1985. Lithograph in 4 colors on Rives BFK paper. 42 x 29 3/4 in. (106.68 x 75.57 cm). Published by Universal Limited Art Editions, West Islip, NY. Christopher Wool (American, born 1955). Untitled, 2013. Lithograph in 2 colors on J. Whatman handmade paper. 30 1/2 x 22 1/2 in. (77.47 x 57.15 cm). Published by Universal Limited Art Editions, West Islip, NY. Charline von Heyl (German, born 1960). Shenanigan, 2020. Intaglio with relief and lithography on En Tout Cas paper. 24 5/8 x 20 1/8 in. (62.5 x 51.1 cm). Published by Universal Limited Art Editions, West Islip, NY. Jane Hammond (American, born 1950). Clown Suit, 1995. Three-dimensional lithograph and silkscreen in 24 colors on handmade Chiri paper. 55 x 39 x 10 in. (139.7 x 99.06 x 25.4 cm). Published by Universal Limited Art Editions, West Islip, NY. Elizabeth Murray (American, 1940–2007). Shack, 1994. Three-dimensional lithograph in 20 colors. Overall: 63 x 51 x 2 in. (160 x 129 x 5 cm.). Published by Universal Limited Art Editions, West Islip, NY.   Wyatt Kahn (American, born 1983). New Houston Street (9-color woodcut), 2022. Woodcut in 9 colors on Saunders Waterford paper. 71 1/2 x 55 3/4 in. (181.6 x 141.6 cm. Published by Universal Limited Art Editions, West Islip, NY. Wyatt Kahn carving woodblock at ULAE. Bruce Wankel printing Wyatt Kahn's woodcut, New Houston Street (9 color woodcut), 2022. Robert Rauschenberg (American, 1925–2008). Soviet/American Array I, 1988–89. Intaglio in 14 colors with collage on Saunders with Oriental rice paper. 88 1/2 x 53 1/2 in. (224.79 x 135.89 cm). Published by Universal Limited Art Editions, West Islip, NY. Suzanne McClelland (American, born 1959). Tea Leaves, 1996. Lithograph and screenprint in 4 colors with collage on Torinoko paper. 86 x 108 in. (218.44 x 274.32 cm). Published by Universal Limited Art Editions, West Islip, NY. Christopher Wool (American, born 1955). Untitled 1, 2021. Portfolio of four intaglios on Arches En Tout Cas paper. 20 x 17 in. (50.8 x 43.18 cm). Published by Universal Limited Art Editions, West Islip, NY. James Rosenquist (American, 1933–2017). Dog Descending a Staircase, 1980–82. Lithograph and intaglio on Arches Cold Press paper. 42 x 70 in. (106.68 x 177.8 cm). Published by Universal Limited Art Editions, West Islip, NY. Eddie Martinez (American, born 1977). Untitled, 2021. Monotype on En Tout Cas paper. 13 x 17 in. (33 x 43.2 cm). Published by Universal Limited Art Editions, West Islip, NY. Julia Rommel (American, born 1980). Untitled (Gowanus, March 2018), 2018. Intaglio in 9 colors on Revere Felt White paper. 13 3/16 x 10 3/8 in. (33.5 x 26.35 cm). Published by Universal Limited Art Editions, West Islip, NY. Sam Moyer (American, born 1983). R.R. Echo, 2022. Lithograph in 4 colors on Rives BFK Grey paper. 44 x 30 in. (111.8 x 76.2 cm). Published by Universal Limited Art Editions, West Islip, NY. Martin Puryear (American, born 1941). Untitled, 2022. Intaglio on Arches En Tout Cas paper. 28 ¾ x 29 ½ in. (73 x 74.9 cm.). Published by Universal Limited Art Editions, West Islip, NY. Joe Bradley (American, born 1975). 5 Lithographs, 2015. Set of 5 lithographs on various papers. 24 x 28 in. (60.96 x 71.12 cm). Published by Universal Limited Art Editions, West Islip, NY. Robert Rauschenberg (American, 1925–2008). Accident, 1963. Lithograph in 2 colors on Rives BFK paper. 41 x 29 in. (104.14 x 73.66 cm). Published by Universal Limited Art Editions, West Islip, NY. Helen Frankenthaler (American, 1928–2011). Savage Breeze, 1974. Woodcut in 7 colors on handmade laminated Nepalese buff paper. 31 1/2 x 27 in. (80.01 x 68.58 cm). Published by Universal Limited Art Editions, West Islip, NY. Helen Frankenthaler (American, 1928–2011). East and Beyond, 1972–73. Woodcut in 7 colors on handmade laminated Nepalese buff paper. 31 1/2 x 21 1/2 in. (80.01 x 54.61 cm). Published by Universal Limited Art Editions, West Islip, NY. Riva Castleman. Tatyana Grosman: A Scrapbook. West Islip, NY: Universal Limited Art Editions, 2008. USEFUL LINKS ULAE's website https://www.ulae.com/artists/ ULAE's Instagram @ulaestudio ULAE's Facebook https://www.facebook.com/ulaestudio  

Welcome to the Instant Trivia podcast episode 912, where we ask the best trivia on the Internet. Round 1. Category: biblical quotes 1: Eccles. 11:1 says cast this "upon the waters: For thou shalt find it after many days". bread. 2: "The serpent beguiled me and I did eat". Eve. 3: She said, "Thou hast mocked me these 3 times and hast not told me wherein thy great strength lieth. Delilah. 4: These 3 friends of Daniel were bound and "cast into the midst of the burning fiery furnace". Shadrach, Meshach, and Abednego. 5: Samson took hold of two pillars and said "Let me die with" these people. Philistines. Round 2. Category: jingles all the way 1: "Double your pleasure, double your fun" with this gum. Doublemint gum. 2: "I don't wanna grow up, I'm a" this "kid, they got the best for so much less, you'll really flip your lid". Toys"R"Us. 3: They're "The dogs kids love to bite". Armour hot dogs. 4: This motorcycle company likes to "Let the good times roll". Kawasaki. 5: "Call" this service company, "that's the name, and away go troubles, down the drain". Roto-Rooter. Round 3. Category: gems 1: Many samples of this fossilized resin come from sands that are 40 to 60 million years old. amber. 2: The word gem comes from Latin "gemma", meaning this stage of a flower. a bud. 3: Intaglio and cameo are principal forms of doing this to gemstones. carving (or engraving). 4: Australia's Lightning Ridge is known for its fine black ones. opals. 5: Opal and turquoise are found mostly in parts of world where there is little of this. water (rainfall, moisture). Round 4. Category: just us chickens 1: The name of this enclosure where chickens are confined comes from a middle English word for "basket". coop. 2: New Hampshires and Rhode Island reds usually produce eggs of this color. brown. 3: Chickens are often given grit to replenish the supply of stones in this digestive organ. gizzard. 4: This term is used to refer to a miniature member of a standard chicken breed. bantam. 5: Tyson Foods could tell you that this state leads the USA in broiler production. Arkansas. Round 5. Category: born on the fourth of july 1: 1826:Composed "Jeanie With The Light Brown Hair" and "Oh! Susanna". Stephen Foster. 2: P.T. Barnum's circus partner, he took his first bow on July 4, 1847. (James) Bailey. 3: Take our advice and name the columnists born in 1918 as Esther Pauline Friedman and Pauline Esther Friedman. Abigail Van Buren and Ann Landers. 4: 1807:His Red Shirts captured Sicily and Naples in 1860. Garibaldi. 5: Pennsylvania-born in 1826, he penned "Swanee River" only 25 years later. (Stephen) Foster. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

This episode is the wax seals primer.  Intaglio seals are cut into the surface of the matrix.  Intaglio seals are most commonly used for wax seals and create a design in raised relief in the wax. Relief seals have designs that are above the surface of the matrix.  Relief seals are commonly set behind a piece of paper for embossing that also creates a raised relief design.  If a relief seal is used in wax it creates an impressed design more like a mold.  Catherine Craft SupplyDexter RingsRegnas RingsLetterlockinghttp://brienne.org/exhibit-4http://letterlocking.org/abouthttps://www.atlasobscura.com/articles/what-did-people-do-before-envelopes-letterlockingMy personal favorite method is to use wax beads in a wax furnace to heat the spoon with the wax in it and the spoon gives you more control over how the wax is applied to the letter.  Melting wax beads in a spoon also gives you the ability to mix wax colors to add to the character of the seal.Wax furnaceNon-machinable postage And a few links from the Wax Seals Revisited Episodehttps://backtozero.co/https://www.letterseals.com/https://www.carolinapencompany.com/custom-wax-sealhttps://vanness1938.com/collections/wax-sealsJ.Herbin Wax seal ink padsGlobal Solutions Metallic White Shimmer Stamp PadStick waxGlue gun wax - especially clear waxWax beads

Themes - Deep dig into Minecraft - Plumber shout out! - Multiple follow-ups - MET does good website! - People and art students suck - Betty Rubble Notes - 00:18 - Catherine chooses coffee over Bedrock - 01:00 - Microsoft emails James - 01:30 - History of Minecraft, the original blocky world - 03:15 - Scripting, cross-platform, running native? What? - 03:55 - SubRant embraces “tech geek world” - 04:30 - Everything leads to “The Flintstones” - 05:20 - Plumber shout out! https://georgebrazilplumbingelectrical.com - 06:20 - Expansion tank saves the day! - 06:44 - Nicholas is also a “Grocery Store Superstar”! - 07:55 - Fake bird surveillance joke follow up https://youtu.be/l30_APBNPXg - 09:25 - We're not art lawyers, but Catherine will test the waters - 10:00 - We're not scientists either, so below are alternate sources - - 1 - Kat Epidemiologist https://www.epidemiologistkat.com - - 2 - Very Bad Wizards https://www.verybadwizards.com - - 3 - Andy Does Healthy https://www.tiktok.com/@andydoeshealthy - 11:25 - James is a ruthless self-promoter (not) - 12:05 - Now here's a really good museum website! https://www.metmuseum.org - 12:26 - Fly-through videos! https://www.metmuseum.org/art/online-features/met-360-project - 13:00 - “Fake” follow-up about curator responsibility - 14:45 - Mona Lisa eats cake https://www.vanityfair.com/style/2022/05/mona-lisa-attacked-at-louvre-museum-by-vandal-with-patisserie - 16:40 - Breaking News: “People suck” - 17:12 - James makes a case for cannibalism - 17:50 - Groceries going MIA - 18:58 - Forget Durango, just camp in San Francisco - 21:15 - Details are important (and interesting) - 22:10 - Marks of the mono print - 23:26 - Intaglio embarrassment: Catherine gets mocked in art class - 25:17 - Garbage torso painting is difficult because it's garbage! - 26:20 - Education theory according to James - 26:55 - Betty Rubble - 27:25 - At least the plumbers are listening!

This week we're back #DownTheRabbitHole in Part 2 with a selection of songs ranging from weird and wonderful to outright beautiful! Listen out for brand new tracks by Skyline Tigers, Texmex Shaman with One Blind Mouse and Rekha, Intaglio, Lizard Sweets, The Painkillers, Kiffie, Analogue Electro Whatever, Glasxs, Southern Baptist Witch Covern, Inca Babies, Mikey J, Across The Sea, Annika Jayne and GRIM17. For all the latest check out www.newmusicsaturday.com x --- Send in a voice message: https://anchor.fm/newmusicsaturday/message

In episode 207, Tru and Ann discuss intaglio printmaking techniques, which include engraving, etching, mezzotint, and drypoint. They also talk about aquatint and other methods of getting an image incised into a copper plate. Images related to the episode are at platemarkpodcast.com.

Kathy Caraccio is a New York based master printer who started out studying under Arun Bos at Hunter College in the 60's, and after graduating spent four years printing and absorbing all kinds of knowledge at Robert Blackburns Print Workshop. It was there she learned the ins and outs of being a collaborating printer and got glimpses into the world of dealing and collecting prints by watching Robert Blackburn sell the prints published in his studio. Her first publishing job was for Pace, before they had their own print operation, printing a commemorative suite of etchings  for Louise Nevelson. She opened her studio and has been a printer for the past 43 years, printing for the likes of Ema Amos, Ed Clarke, Romaire Beardon, Sol LeWitt and many other artists. Kathy comes on the Print Cast to tell her story about she got into printmaking, what it was like working at Robert Blackburn's print studio, and stories of the many collaborations she has done since then.Today's Let's Get Technical is all about Collagraph! Hear some great tips from the master herself. -Using a PVC plastic or polystyrene plate (sintra is one brand )-How to prepare the plate with a mesh that simulates an aquatint-Adding collage materials...but not too much-Printing the plate in intaglio and relief stylesSee Kathy's collection and learn more about her at https://www.kcaracciocollection.com/Follow Kathy on Instagram @kathyprintSome other announcements:Self Help Graphics is having its Biennial Print Summit over Zoom, March 10,11,12 of 2021. Check their website for more info. Selfhelpgraphics.comSelf Help Graphics in Los Angeles is also hiring a Master Printer with a specialty in Serigraphy. Learn more at selfhelpgraphics.com/opportunitites

It's the remix, Intaglio 2: The Streets! This week we wanted to throw it way back and give our first episode another try (since we have improved since day one) so we are looking at the little baby printing method of intaglio. The sisters talk cash money, discuss how much intaglio needs to be coddled and rock on with our ephemeral selves. And as always with printmaking it is process, process and more process! Find images and links to what we discussed at artclubpodcast.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Fort Atkinson is home to Wisconsin's last remaining Native American intaglio, a reverse mound. Museum Director Merrilee Lee investigates how it was created and preserved in the modern era. 

Author and Master Printmaker Phil Sanders comes on the podcast today in a two-part episode to discuss his new book Prints and Their Makers, a book that weaves connections between the tradition and techniques of printmaking developed over the course of human history. Phil Sanders is a master printer and publisher at PS Marlowe in Asheville, North Carolina. He is a former printer at ULAE, and former director at the Robert Blackburn Printmaking Workshop in New York City.His book features publishers and artists who push the boundaries of the seven major processes: Relief, Intaglio, Chine Collé, Photogravure, Lithography, Monotype & Monoprint, and Screen Print. It's like taking a tour of the best print workshops around the globe that are operating today. While it offers historical context, the book also invites us press-side with artists and master printers, giving insight into the decision making processes involved in making some truly impressive artworks. It's a treat for anyone who enjoys peeling apart the layers of how monumental prints are made.One of the best parts of the book are the images and the artists featured. The images are bright, bold, and well presented, and you'll see many new artists' work that will be sure to inspire and delight as you flip through the pages. It's a fantastic book and we have a really enjoyable chat regarding all things print. Today's episode is Part 1 of my interview with Phil Sanders, with Part 2 coming next week. Enjoy!

Uno de mi sitios favoritos en el mundo es el Museo Rayo, recuerdo la primera vez que fui a visitarlo en una excursión del colegio en 1989, me pareció increíble ver colgada en un pueblo de Colombia la genial obra de un artista que sobrepasaba los límites de la geometría y el color. El año pasado estuve visitándolo de nuevo, y aún me conmueve. Hablé un buen rato con Juan José Madrid pero guardé esta conversación que rescato en esta temporada pasiva, y además me enteré de que después de la muerte de su fundador en 2010, la directora actual, Águeda Pizarro Rayo con su equipo administrativo y curatorial están desarrollando los proyectos diseñados por su fundador. Incluyen la sala Museo del Intaglio y un gran Taller Múltiple de Formación Artística, los que están convirtiendo el museo en“la universidad de la estética”que tanto soñó su fundador. Las exposiciones que se están presentando en las salas de artistas invitados incluyen pintura, escultura, objetos, cerámica, video y fotografía, sin olvidar la misión original de exhibir la insuperable gráfica. La obra de Omar Rayo se encuentra siempre exhibida, pero se le está haciendo la curaduría y conservación ubicando a este gran artista en su contexto histórico y presentando su desarrollo desde sus inicios hasta la receinte década. El Museo Rayo en Roldanillo, Valle es otro espacio que tuvo que repensarse desde la virtualidad en la pandemia de 2020, pero hay que ponerlo entre los destinos a futuro cuando visite el Valle del Cauca. --- Send in a voice message: https://anchor.fm/gabriel-posada/message

The written word allowed us to preserve human knowledge, or data, from generation to generation. We know only what we can observe from ancient remains from before writing, but we know more and more about societies as generations of people literate enough to document their stories spread. And the more documented, the more knowledge to easily find and build upon, thus a more rapid amount of innovation available to each generation... The Sumerians established the first written language in the third millennium BCE. They carved data on clay. Written languages spread and by the 26th century BCE the Diary of Merer was written to document building the Great Pyramid of Giza. They started with papyrus, made from the papyrus plant. They would extract the pulp and make thin sheets from it. The sheets of papyrus ranged in color and how smooth the surface was. But papyrus doesn't grow everywhere.  People had painted on pots and other surfaces and ended up writing on leather at about the same time. Over time, it is only natural that they moved on to use parchment, or stretched and dried goat, cow, and sheep skins, to write on. Vellum is another material we developed to write on, similar, but made from calfskin. The Assyrians and Babylonians started to write on vellum in the 6th century BCE.  The Egyptians wrote what we might consider data that was effectively included into pictograms we now call hieroglyphs on papyrus and parchment with ink. For example, per the Unicode Standard 13.0 my cat would be the hieroglyph 130E0. But digital representations of characters wouldn't come for a long time. It was still carved in stone or laid out in ink back then.  Ink was developed by the Chinese thousands of years ago, possibly first by mixing soot from a fire and various minerals. It's easy to imagine early neolithic peoples stepping in a fire pit after it had cooled and  realizing they could use first their hands to smear it on cave walls and then a stick and then a brush to apply it to other surfaces, like pottery. By the time the Egyptians were writing with ink, they were using iron and ocher for pigments.  India ink was introduced in the second century in China. They used it to write on bamboo, wooden tablets, and even bones. It was used in India in the fourth century BCE and used burned bits of bone, powders made of patroleum called carbon black, and pigments with hide glue then ground and dried. This allowed someone writing to dip a wet brush into the mixture in order to use it to write. And these were used up through the Greek and then Roman times. More innovative chemical compounds would be used over time. We added lead, pine soot, vegetable oils, animal oils, mineral oils, and while the Silk Road is best known for bringing silks to the west, Chinese ink was the best and another of the luxuries transported across it, well into the 17th century.  Ink wasn't all the Silk Road brought. Paper was first introduced in the first century in China. During the Islamic Golden Age, the islamic world expanded the use in the 8th century, and adding the science to build larger mills to make pulp and paper. Paper then made it to Europe in the 11th century. So ink and paper laid the foundation for the mass duplication of data. But how to duplicate?  We passed knowledge down verbally for tens of thousands of years. Was it accurate with each telling? Maybe. And then we preserved our stories in a written form for a couple thousand years in a one to one capacity. The written word was done manually, one scroll or book at a time. And so they were expensive. But a family could keep them from generation to generation and they were accurate across the generations. Knowledge passed down in written form and many a manuscript was copied ornately, with beautiful pictures drawn on the page. But in China they were again innovating. Woodblock printing goes back at least to the second century to print designs on cloth. But had grown to include books by the seventh century. The Diamond Sutra was a Tang Dynasty book from 868 that may be the first printed book, using wood blocks that had been carved in reverse.  And moveable type came along in 1040, from Bi Sheng in China. He carved letters into clay. Wang Chen in China then printed a text on farming practices called Nung Shu in 1297 and added a number of innovations to the Chinese presses. And missionaries and trade missions from Europe to China likely brought reports home, including copies of the books. Intaglio printing emerged where lines were cut, etched, or engraved into metal plates, dipped into ink and then pressed onto paper. Similar tactics had been used by goldsmiths for some time.  But then a goldsmith named Johannes Gutenberg began to experiment using similar ideas just adding the concept of moveable type. He used different alloys to get the letter pressing just right - including antimony, lead, and tin. He created a matrix to mold new type blocks, which we now refer to as a hand mould. He experimented with different kinds of oil and water-based inks. And vellum and paper.   And so Gutenberg would get credit for inventing the printing press in 1440. This took the basic concept of the screw press, which the Romans introduced in the first century to press olives and wine and added moveable type with lettering made of metal. He was at it for a few years. Just one problem, he needed to raise capital in order to start printing at a larger scale. So he went Johann Fust and took out a loan for 800 guilders. He printed a few projects and then thought he should start printing Bibles. So he took out another loan from Fust for 800 more guilders to print what we now call the Gutenberg Bible and printed indulgences from the church as well.  By 1455 he'd printed 180 copies of the Bible and seemed on the brink of finally making a profit. But the loan from Fust at 6% interest had grown to over 2,000 guilders and once Fust's son-in-law was about to run the press, he sued Gutenberg, ending up with Gutenberg's workshop and all of the Bibles basically bankrupting Gutenberg by 1460. He would die in 1468.  The Mainz Psalter was commissioned by the Mainz archbishop in 1457 and Fust along with Peter Schöffer, a Gutenberg assistant, would use the press to become the first book to be printed with the mark of the printer. They would continue to print books and Schöffer added putting dates in books, colored ink, type-founding, punch cutting, and other innovations. And Schöffer's sons would carry on the art, as did his grandson.  As word spread of the innovation, Italians started printing presses by 1470. German printers went to the Sorbonne and by 1476 they set up companies to print. Printing showed up in Spain in 1473, England in 1476, and Portugal by 1495. In a single generation, the price of books plummeted and the printed word exploded, with over 20 million works being printed by 1500 and 10 times that by 1600. Before Gutenberg, a single scribe could spend years copying only a few editions of a book before the printing press and with a press, up to 3,600 pages a day could be printed. The Catholic Church had the market on bibles and facing a cash crunch, Pope Alexander VI threatened to excommunicate printing manuscripts. In two decades, John Calvin and Martin Luther changed the world with their books - and Copernicus followed quickly by other scientists published works, even with threats of miscommunication or the Inquisition.  As presses grew, new innovative uses also grew. We got the first newspaper in 1605. Literacy rates were going up, people were becoming more educated and science and learning were spreading in ways it had never done before. Freedom to learn became freedom of thought and Christianity became fragmented as other thinkers had other ideas of spirituality. We were ready for the Enlightenment.  Today we can copy and paste text from one screen to the next on our devices. We can make a copy of a single file and have tens of thousands of ancient or modern works available to us in an instant. In fact, plenty of my books are available to download for free on sites with or without mine or my publisher's consent. Or we can just do a quick Google search and find most any book we want. And with the ubiquity of literacy we moved from printed paper to disks to online and our content creation has exploded. 90% of the data in the world was created in the past two years. We are producing over 2 quintillion bytes of data daily. Over 4 and a half billion people are connected, What's crazy is that's nearly 3 and a half billion people who aren't online.  Imagine having nearly double the live streamers on Twitch and dancing videos on TikTok! I have always maintained a large physical library. And while writing many of these episodes and the book it's only grown. Because some books just aren't available online, even if you're willing to pay for them.  So here's a parting thought I'd like to leave you with today: history is also full of anomalies or moments when someone got close to a discovery but we would have to wait thousands of years for it to come up again. The Phaistos Disc is a Minoan fired clay tablet from Greece. It was made by stamping Minoan hieroglyphs onto the clay.  And just like sometimes it seems something may have come before its time, we also like to return to the classics here and there. Up until the digital age, paper was one of the most important industries in the world. Actually, it still is. But this isn't to say that we haven't occasionally busted out parchment for uses in manual writing. The Magna Carta and the US Constitution were both written on parchment. So think about what you see that is before its time, or after. And keep a good relationship with your venture capitalists so they don't take the printing presses away. 

Bryn Gleason is a Chicago-based visual artist and printmaker specializing in Intaglio. Her work has been featured in galleries, art shows and festivals in Minneapolis, New York, Denver, and her adopted hometown Chicago. Bryn lends her creative talents to cocktail programs wherever she lives, showcasing specialized knowledge in agave spirits. In our discussion we speak about Bryn’s journey to Chicago,

Episode Notes Intaglio printing has been used for a lot of stamps. In this episode, I look a bit at the history of printing and at what intaglio printing is. #Philately Support Bob Collects Stamps by donating to their Tip Jar: https://tips.pinecast.com/jar/bob-collects-stamps Find out more at https://bob-collects-stamps.pinecast.co

This episode is the wax seals primer. Intaglio seals are cut into the surface of the matrix. Intaglio seals are most commonly used for wax seals and create a design in raised relief in the wax. Relief seals have designs that are above the surface of the matrix. Relief seals are commonly set behind a piece of paper for embossing that also creates a raised relief design. If a relief seal is used in wax it creates an impressed design more like a mold. Catherine Craft SupplyDexter RingsRegnas RingsLetterlockinghttp://brienne.org/exhibit-4http://letterlocking.org/abouthttps://www.atlasobscura.com/articles/what-did-people-do-before-envelopes-letterlockingMy personal favorite method is to use wax beads in a wax furnace to heat the spoon with the wax in it and the spoon gives you more control over how the wax is applied to the letter. Melting wax beads in a spoon also gives you the ability to mix wax colors to add to the character of the seal.Wax furnaceNon-machinable postage You can find me at @gneissguyco on InstagramYou can also write to me at:Stationery OrbitJohn WestP.O. Box 621Golden, CO 80402 Support the show (https://www.patreon.com/stationeryorbit?fan_landing=true)

The Lunar Saloon Every Friday from 10P - 12A PST 99.1 FM Long Beach Streaming at KLBP.org/listen Air date : February 21, 2020 -=-=-=-=-=-=-=-=-=- THE MYSTERY MIX (all randomly selected tracks) Motohiko Hamase (浜瀬元彦), Oiseaux Á La Pluie, Intaglio (インタリヨ) Populous, Vu [Prp Remix] (feat. Clap! Clap!), Night Safari Remixed Nu Guinea, Stasis ( Calm Before The Storm), The Tony Allen Experiments Sly & Robbie, Doctor in dub, Dub Rockers Delight Twoonky, Jasso, Dezzo Ilaiyaraaja feat. Malaysia Vasudevan, Nan Koduthathai, Ilectro Malaysia Vasudevan & S.P. Sailaja, Pattu Engey, Fire Star: Synth-Pop & Electro-Funk From Tamil Films 1984-1989 China Express, The Ghost Of The Samurai, The Ghost Of The Samurai / In Orient 911, Twenty Four/Seven, Twenty Four/Seven / It Must Be Nice Beastie Boys, Slow Ride, Licensed to Ill Okay Temiz, Repercussions, Drummer Of Two Worlds INIT, Echoes, Two Pole Resonance S.T.O.R.E., Get Hyped Up!, X-Static - Dutch Hardbeats 2 William The Squid, Planet Play, Knowes Universal Broadcast (Seg. 3) Dj Spoko, Bula ma ft. Pru-dance, Spoko Forever AN-2, Lazy Sun, Wide Open EP Wolfgang Maus Soundpicture, Children Of The Universe, Children Of The Universe Musique, Summer Love Theme (Radio Edit), Keep On Jumpin' The Syndicate, Nashville Soul (Psychemagik edit), Psychemagik Archive 2009-2017 Cate Brothers, Livin' On Dreams, Cate Bros Destroyer, Dark Leaves Form a Thread, Trouble In Dreams Marv Johnson, You Got What It Takes, Billboard Top 100 Of 1960 Tommy Quickly, Tip of My Tongue, Tip of My Tongue Arian, Novi Susret, Arian Olivia Newton-John With Gene Kelly, Whenever You're Away from Me, Xanadu - Original Motion Picture Soundtrack Pet Shop Boys, Jealousy, Discography: The Complete Singles Collection Tears For Fears, Listen, Songs From The Big Chair The Beatles, Sea of Holes, Yellow Submarine

The Lunar Saloon Every Friday from 10P - 12A PST 99.1 FM Long Beach Streaming at KLBP.org/listen Air date : June 17, 2019 -=-=-=-=-=-=-=-=-=- Workdub, Just Pump It, Workdub Cybe, Bali Pulau Bagus, Tropisch Verlangen Soft Rocks, 200 Satsumas, The Curse Of Soft Rocks Ytamo, Human Ocean, Mi Wo Peter Westheimer, Circular Walkways, Cool Change Orquesta De Las Nubes, Como Un Guante, The Order Of Change W. Barthel / M. Böhm / R. Bauer, Through Desert Plains, Timeless Horizons Gang Gang Dance, Snake Dub, Kazuashita Jako Maron, Maloya Valsé chok 1, Les Experiences Electro Maloya de Jako Maron Ironing Music, Questions, Ironing Music Demo Matias Aguayo & The Desdemonas, Vocal Arranger, Sofarnopolis Blood Wine or Honey, Peak Helium IV, Fear & Celebration Violent Quand On Aime, I Don't Know, Violent Quand On Aime Muziekkamer, Walkman, II - Popmuziek Ovifornia SCI, Mao's Children, La Contra Ola The Lord, Space Is The Bass, Cold Waves Of Color Gökçen Kaynatan, Doganin Ötesi, Gökçen Kaynatan Eva Geist, Dniheb, Dniheb Martial Canterel, Sister Age, Refuge Underneath Jako Maron, Katangaz, Les Experiences Electro Maloya de Jako Maron Thick Pigeon, Babcock + Wilcox, Too Crazy Cowboys Gianni Safred & His Electronic Instruments, Last Rain, Futuribile (The Life To Come) BBC Radiophonic Workshop, Fancy Fish (Aquarium, from 'The Carnival of the Animals'), The Soundhouse: Music From The BBC Radiophonic Workshop Orquesta De Las Nubes, El Orden Del Azar, The Order Of Change Midori Hirano, Cells That Smell Sounds, Add To Friends Yutaka Mogi ‎(茂木由多加), =Aurora, Flight Information Peter Howell & The Radiophonic Workshop, The Astronauts, Through A Glass Darkly Gareth John, Playtime 1930, The Synthesiser Album Georges Rodi, Outer Space, Spaciology Motohiko Hamase (浜瀬元彦), Lung, Intaglio (インタリヨ) Sam Spence, Moog Shot 28, Sam Spence Sounds

Welcome to Art Club! A podcast about any and every kind of art. We start off by discussing the intaglio printing process, the history of intaglio and how it is used today.  Find images and links to what we discussed at artclubpodcast.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Today on the podcast is another live program from the IFPDA print fair in the fall of 2019. This week we have Swoon, aka Caledonia Curry, on stage speaking about her installation that greeted fair attendees at the entrance to the Javits Center. Swoon goes into detail about her love of printmaking, and the various ways she uses the medium in her art. Interestingly the conversation centers around etching, though it's one technique that Swoon doesn't do often and when she does it's with master printmakers. Speaking with Swoon are Nadine Orenstein, the Drue Heinz Curator in Charge, Department of Drawings & Prints, the Metropolitan Museum of Art, Jenny Gibbs, executive director of the IFPDA, and the talk is moderated by Sarah Douglas, Editor-in-Chief of ARTnews. Talks like this always leave you wanting more, and it's a great perspective into the mind of an artist that I find super inspiring. This year was the first time they invited an artist to do a project in the space during the print fair, and I'm sure it won't be the last. Swoon's WebsiteSwoon's InstagramIFPDA WebsiteThe Print Cast on InstagramThe Print Cast Website

Today's episode features the founder of a community printshop in Chicago. Angee Lennard started Spudnik Press with a drive to create something that could serve a community of artists, and create a hub where people could work together, share equipment, and teach others about the printing arts. It's not a simple business to run, and it takes a lot of elbow grease and persistence to create this type of print studio and make it sustainable, Spudnik Press has been going for 13 years now, which is pretty incredible considering it started in Angee's apartment. The artists there work together to maintain the space and activate it with lots of programs including publishing prints with outside guest artists. This is a good episode if you love print and the community it fosters. Spudnik Press on InstagramThe Print Cast on InstagramMore Episodes from The Print CastLeave A Press Campaign on IndiegogoLithosphere Campaign on Kickstarter

Mark Brueggeman works in printmaking, painting, drawing, and stained glass, with occasional forays into bronze casting. His current printmaking focus is a combination of letterpress and intaglio prints, further expanding his scope into the roles of publisher and illustrator. Mark earned his undergraduate degree in drawing and painting at the Art Institute of Chicago. He earned his graduate degree at Southern Illinois University at Edwardsville in drawing and fiber sculpture.During his career, Mark spent a total of 27 years teaching in the department of art and design at the University of Wisconsin-Stevens Point. He has operated Atelier Vermeil Studio 2 since 1985. #markbrueggeman #artist #inspiredartistpodcast

It's the final day of the IFPDA Fine Art Print Fair and it's been quite an adventure. Yesterday I interviewed Leslie DiuGuid from Du-Good Press and so I go into a bit of what we talked about. Today some of my favorite programming is going to happen. First we'll be meeting some of the artists who have work up on the walls this year. That should be a great treat and following that at 2pm is a discussion with Swoon about contemporary etching with Jenny Gibbs who is the executive director of the IFPDA. I haven't heard Swoon talk much before, so it will be interesting to hear about her art and what she has been up to in recent years. Thanks for tuning into this special series of The Print Cast and thanks to the IFPDA for having me! Visit the IFPDA websiteFollow the IFPDA on InstagramVisit the Du-Good Press websiteFollow Du-Good Press on InstagramFollow Swoon on InstagramFollow The Print Cast, of course too ;)

Today on this mini episode of The Print Cast I recount a very busy day yesterday, Friday October 25th at the IFPDA Print Fair in New York. It was a busy day with Jeff Koons and Christophe Cherix discussing his work including his newest editions on view at The Two Palms booth here at the fair. It was a very illuminating talk that I can't wait to post here on the pod, but today I offer some brief details to entice you about what's to come on the show in the coming weeks. Next I did interviews with Karl LaRocca from Kayrock Screenprinting and master printer Kathy Caraccio, both who work here in the city. Each of those interviews were different in style and form, and you'll be able to hear those talks later after I have time to edit it all together for your listening pleasure. Kathy's interview was especially lively and funny, so I recount some of the more vibrant aspects of our time on stage. Two more talks finished the day from the fair programs. One was a conversation between artist Jamie Nares and JP Russell facilitated by Phil Sanders and a talk about how to collect prints with Helen Rosslyn from the London Original Print Fair. Not only all that, but I also detail what's coming next including an awards presentation and discussion with artists Mel Bochner and Matthew Day Jackson with print collector Jordan Schnitzer. Jim Dine is also joining us Saturday in conversation with Master Printers Ruth Lingen and Julia D'Amario. I'll also be interviewing Leslie DiuGuid at the end of the day, which I am very excited about. There's a lot going on, my voice is getting raspy and tired, and I hope you enjoy hearing about the fair and what you can look forward to in audio for the Print Cast coming soon. Everything I record here will be shared with the podcast and online with the IFPDA, so you can all look forward to some great audio content in the coming months. Stay tuned!Visit the IFPDA websiteFollow the IFPDA on InstagramFollow Kayrock on InstagramFollow Kathy Caraccio on InstagramFollow The Print Cast, of course too ;)

Coming to you live today at the IFPDA in New York. Check out this episode to hear what's going on in New York for Print Week if you can't be here to see it in person. Today I go over the happenings yesterday like my talk with master printer Craig Zammiello of Two Palms. We discussed photogravure, his specialty, and I give some detail today on how I think I've been misrepresenting that technique by calling all kinds of other printed things by that name. In fact, there is one material that is hardly available today that makes the process of photogravure possible, and Craig tells us all about it. I also get into the prints I've been seeing and some of my perspective on some prints that really have hit me. I'm exploring the publishers' booths at the fair each day to see who is making great new work, and trying to meet the people who facilitate that print work. Two artists I'm enjoying are Swoon and Mickalene Thomas, both of whom are printing with Tandem Press out of Madison, Wisconsin. Midwest in the house! I also love the woodcuts of Chitra Ganesh at Durham Press because they're simple, black and white, and carry a lot of power in the message behind the work.Today at the fair Jeff Koons talks about the state of multiples in the art world, and I'll be making time to interview Karl LaRocca of Kayrock Screenprinting and Kathy Caraccio who runs K. Caraccio Printshop where she is master printer and has been collaborative printing for 40 years. After that Phil Sanders leads a discussion also about collaborative printing. It seems to be the theme of this type of event, so you'll be learning a lot about how artists and printers navigate working together. More to come so keep following The Print Cast to hear more about what's happening around the big apple this weekend.

Today on this special edition of The Print Cast, I'll be recording at the IFPDA fine art print fair in New York. This is the first daily installment about what's going on here during Print Week including lots of up-close-and-personal content captured at the fair. The IFPDA is a big fair of galleries and print publishers showcasing some of the best prints being made today. Today I'll be on site recording a talk about collecting fine print works. Later I'll be doing my first live recording of the podcast! Master Printer Craig Zammiello will be on hand discussing his use of photograveur while working at ULAE and Two Palms here in New York. There's a lot to take in, and each day at the fair I'll be posting updates about happenings and events so stay tuned for more great audio.You can look forward to more content from the fair in the coming weeks being broadcast directly from The Print Cast feed. Some of this includes a discussion with Jeff Koons about the state of multiples today. Also Swoon will be on hand to discuss her latest installations and work, some of which is included in a new show about contemporary etching that opened this week at MOMA. All that and more from this special edition of The Print Cast. Subscribe so you don't miss out!Check out the IFPDA websiteFollow the IFPDA on InstagramFollow The Print Cast on InstagramCheck out The Print Cast website for more info

Episode 9 of The Print Cast features a discussion with John Pusateri and Jan Philip Raath who together run Auckland Print Studio in Point Chevalier, New Zealand. It's one of the few studios in NZ offering litho, intaglio, relief and other print services to artists who want to create editions. We talk business models as they try to search for a way to move forward towards sustainability with print sales and program expansion. It is never clear what the most optimal model is for running a shop, but after 10 years they have created a solid foundation for their next steps forward. If you've ever been curious what it would take to do printmaking in far-off locales, this one is for you. Check out Auckland Print Studio on Instagram.See their services and learn about their residency.Follow the Print Cast on Instagram!

Nick sits down with artist Enrique Chagoya, in Part 1 of a two-part series. Enrique Chagoya is an artist who inverts cultural appropriation in a manner he calls “Reverse Anthropology”.  With a deft wit, his paintings, drawings, prints and codices use “symbols as one would use words in a sentence,” often with hilarious and biting results. At times his art can even arouse misinterpretation, negative press, and even vandalism. Nevertheless he persists and continues to tackle subjects like sexual abuse in the Catholic Church, racism, xenophobia, and pop culture, to name a few. Present in all of his work is humor, thoughtful juxtapositions, and myriad references harkening back to other artists' work, pop icons, figures of government, and his Mexican heritage. It can be disarming to view his work, where you might be laughing and unsettled at the same time. And that is the power of his art; it is intended not to change minds but provoke conversation and dialog.Chagoya is currently Professor of Art at Stanford University. His work has been shown internationally and is represented in the collections of the San Francisco Museum of Modern Art, the LA County Museum of Art, the National Museum of American Art, the Des Moines Art Center, the Whitney, MOMA, and the Metropolitan Museum of Art.Check out his work here.Follow the Print CastSee the show notes here. 

Imagine a space where you can spend an afternoon screen printing your own band merch? Or finally learn how to use a Risograph machine to print your own zine? Maybe you want to enroll in a class; maybe make an etching or a woodcut? It can be difficult to find the space and amass the needed tools and learning the techniques is another huge hurdle. Today in Los Angeles, there is one place where you can attempt to do all of that and more. Nestled in Chinatown, sharing a space with an art book seller A.G. Geiger, 4 artists run a communal printmaking studio called Printshop LA. These artists come from diverse backgrounds with personal art practices that dovetail with the mission of the shop. It reflects the vitality of LA's art scene where artists often have to join forces to make an impact and create opportunities. By combining business models, they not only enhance their individual practices but also extend a lifeline to artists and the public who would love to share their equipment and resources. Printshop LA is Michelle Miller, Jayse Caitlin, Sean Hernandez and Dave Kloc. I welcome three of the four founding members today where we'll talk about their pursuit of making printmaking accessible in Los Angeles. Check out all three artists on InstagramPress Friends aka Sean HernandezHeavy Gel aka Jayse CaitlinMichelle MillerPrintshop LAFollow The Print Cast on InstagramBecome a supporter of my Patreon

Margot Myers joins the show to discuss site a specific installation and what it's like to be a volunteer board member for the largest printmaking conference in the US. She is an intaglio print artist working in Bellingham, Washington, running a studio called Runaway Press where she creates her work, maintains a thriving batik business, and offers classes and events. Margot is also a volunteer board member for Southern Graphics Conference International and is serving a two-year term as treasurer for the non-profit that runs the event. With the 2019 conference recently taking place in Dallas, Texas, I invited her onto the show to tell me about her work on the board and what it's like to help stage the conference versus attending. She gives some perspective on this year's event and gives us an eye into what we can expect in the years to come. We discuss programming, and particularly how the conference strives to provide content for all types of audiences including for first-timers like her student who joined her this year. Margot also installed a large scale print-stallation on an outdoor staircase this year, and she shares how that experience opened her eyes to the dynamics of foot traffic and whether or not viewers choose to tread on the art itself. She is interested in how some passers by avoid walking on the work, while others are oblivious to what is under their feet as they ascend the stairs. This is a great episode for anyone who is curious about how art non-profits work, especially organizations that turn over their leadership every two years. How do they create continuity? Do they have systems that help one year inform the next? Steering committees for each new city change over as well, thus leaving each year to define itself in its local context. The next conference is going to be in San Juan, Puerto Rico and it's the first time that the organization is bringing the event to that territory. That conference is being called Puertografico and information to participate should be available soon. More info about SGCI: www.sgcinternational.orgFollow Margot: @runaway.pressCheck out her work: www.runaway.pressMore episodes available at: www.theprintcast.comFollow the show at: @theprintcast

Episode 3 of The Print Cast features an interview with painter Sandow Birk and ceramicist Elyse Pignolet; two artists who collaborate in marriage and in art. We talk about their numerous large scale printmaking projects over the years. Working with Master Printer workshops they execute intaglio, relief and lithographic editions delving into political topics ranging from war, democracy, to the constitution. By appropriating formats, compositions, and production methods from historical artists and printmakers, they manage to create art that is poignant and contemporary while also being timeless. We discuss projects like their woodcut Depravities of War, Imaginary Monuments, and their recent project American Procession. It's a great interview and gives a lot of perspective on the Master Printer and artist relationship from the artist's point of view. They also demonstrate the power of collaboration in art and in a marriage where two creatives are making powerful work for themselves and as a unit. Follow the show on Instagram@theprintcastFollow the artists@sandowbirk@epignolet

In this Print Cast extra, we want to share a priceless bit of audio that didn't make it into the full length episode with our guest Hugh Merrill. Most people talk about what they ate for breakfast, but Hugh warms up the mic by reciting poetry, and his voice is like gold. We had some fun dressing up the audio and hope everyone enjoys it. Also included is some general information about how to support the podcast by sharing about it on social media, reviewing and rating us on your favorite podcast platform, and donating via Patreon (http://patreon.com/theprintcast/) where these extras will be available to all donor levels.

In this inaugural first episode Nick talks with Hugh Merrill about his decades as an artist, and his printmaking, teaching, and the philosophy that drives his creative process. We touch on topics relating to his studio work, his studies in the art department at Yale, feminism and MeToo, Buddhism, and other anecdotes like when artist Mel Chin challenged his universal theory of the art with a drawing of a big sausage. It's an art historical episode, with autobiographical undertones mixed with a feeling that you're at a fire side chat with a professor you loved. Recorded in two parts in Kansas City, MO in late 2017. 

For the past 40 years, Indiana Heritage Arts (IHA) has promoted the tradition of this painting style as it was practiced by T.C. Steele and others in Brown County.

For the past 40 years, Indiana Heritage Arts (IHA) has promoted the tradition of this painting style as it was practiced by T.C. Steele and others in Brown County.

Megan Sterling and Meghann Sottile are our guests this week! Chicago in tha house! Nudity is our challenge this week! Artists work a lot of jobs. Motorcycle jewelry is a lot of skulls. Intaglio is pronounced "intalio." Huh! Rob makes a thing to make it rain. Megan Sterling (aka Sterling) and Meghann Sottile (aka Mego) joined forces for a really great printmaking meets metalworking collab! You gotta see their process photos over on http://projects.opposablepodcast.com. The photos really help descibe all the cool techniques they used and notes they took. They used intaglio, press n' peel, anvils, ferric chloride and all sorts of other cool stuff! Ask Taylor about his erotic carbs. Props to Nik, Federico, Kelly, Luke and Mike! They're our top Patreon supporters! And Mike is is great too! Join 'em at: https://www.patreon.com/opposablethumbs Special Guests: Megan Sterling and Meghann Sottile.

How to prep a metal plate with non toxic BIG hard ground in preparation for etching.

In this episode we wlcome revolutionary thinkers Charles Gilchrist & Gabriel Cavazos to the show.   Gabriel "Jay" Cavazos: As president and CEO of Cav Con industries. Parent company to the innovative group that includes ARCOTU "Architecture of the Universe" bio design engineer Gabriel J come Ossos possesses 30 years experience in the construction design land development he originally establishing the partnership would dissolve allowing Gabriel to establish Cav Con industries of Michigan that quickly became one of the most sought after design build construction managers in the business after building managing some of the most prestigious development projects in the world like Fountainbleu Casino Hotel resort in Las Vegas. Today Gabriel's commitment to new Bio architecture future of construction and land development is strictly 100% eco-sustainability which he coins to 2M2D "tomorrow today" which current projects in the United States, Costa Rica, Panama, and Chile. ARCOTU is leading the way in developing new proprietary technologies and organic composite materials that he currently utilizes and believes will eventually replace structural steel and concrete as standard building materials because it provides superior strength, lighter weight, complete ductility with unlimited design and capabilities +0 environmental impact and bio energy conducive, a policy that is consistent with been required by Gabriel and all Cav Con industries/ARCOTU projects. Contact info: www.arcotu.com www.cavconindustries.com www.facebook.com/gabriel.cavazos www.twitter.com/gjc19 www.bigctv.com Email: arcotu@cavconindustries.com Charles Gilchrist: Kansas Charles Leslie Gilchrist was born in Wichita Kansas on June 17, 1940 at 12:04 PM. He showed marked artistic talents at a very early age, drawing and painting constantly. His artistic career really began at the age of four, as he was already convinced of his life's path.His formal art education began at the age of 11 (1951). He was the youngest student ever taken by Genevieve Ingram Frickle, a well known portrait and landscape painter, living, working and teaching in Wichita. She developed his natural drawing talent and taught him to see as an artist. Illinois In 1954, the family moved to the Chicago area (Park Forest, Illinois) and Charles graduated from Rich Township High School in 1958. Wisconsin He attended Beloit College (Beloit, Wisconsin) for two years as a Fine Arts major. Chicago He returned to Chicago where, for the next two years, Charles supported himself as a Truck Mechanic. His serious pursuit became the building and driving of race cars; Drag Racing Cars, Go Karts and Sprint Cars. He was instantly successfully, competitive on a national basis, and was being courted to turn professional with an offer of a hot Sprint Car ride (USAC Midget). But the deeper dream of making art returned. The Cleveland Institute Of Art Charles then left his success as an engine builder and driver relocated to Cleveland, Ohio. He enrolled at the "Cleveland Institute Of Art," was accepted, and studied there for two years. Photography Mary Margaret Morris (Chicago girl) and Charles were married in 1962. His first job as a professional artist (1963) involved the silk screen business where he began by hand cutting photo stencils. The photographic aspects of the silk screen business fascinated Charles and after a few years of study he changed his profession to photography. Now with two children (Shawn and Lisa) he spent the rest of the 60's perfecting various levels of Portrait Photography.  Self portrait with guitar, 1966. Commercial Photography In 1970 Charles switched to Commercial Photography, taking a severe pay cut to work in the dark room of a well known commercial catalog house. His talent showed and quickly began to shoot professional images, both on location and in the studio. He also began drawing and painting again. Mary and Charles' second son Charles Patrick, was born in 1971.During the late 60's mid 70's, Charles worked on the side as a professional racing photographer and made thousands of fantastic racing images. He is still involved with racing and sports photography. Return to The Cleveland Institute Of Art In 1972, Charles reentered the Cleveland Institute Of Art and, while working full time as a commercial photographer by day, graduated from the night school program (1977) majoring in Intaglio print making. Through his studies, Charles discovered the classical concepts of open-eyed meditation and began to create Mandalas as a path to self discovery. Gilchrist Photography In 1978, Charles formed his own commercial photography business (Gilchrist Photography) located in an old warehouse building. May Company In 1980, Charles closed this studio and dissolved "Gilchrist Photography" in order to take a senior executive position with the May Company. He was in charge of the in-house photography studio which produced hundreds of fashion and hard line catalogs, and thousands of newspaper ads). While working for the May Company, Charles developed his own personal studio, a loft located on the top floor of the Bradley Building (Cleveland Warehouse District). G Plus Studios In 1982, Charles ended this position with the May Company in order to form a new business (G Plus Studios). Charles designed G Plus Studios to support a more serious pursuit of his personal creative work which he had been avidly pursuing from the beginning. During the 80's, he worked in numerous media including Photography, Graphic Design, Print Making. Drawing, Mixed Media and Painting.  Self portrait, 1987.New Mexico In 1989, Gilchrist dissolved "G Plus Studios," and relocated to Santa Fe, New Mexico, pursuing a full time "Fine Arts" career in the South West. While working and living there, four local galleries combined to sell about 3 dozen Gilchrist acrylic paintings (Mandalas) but family and financial problems forced changes.   Self Portrait with Acrylic Mandala: New Mexico 1990 Florida    In 1991, Charles briefly relocated to the gulf coast of Florida and then moved back to Cleveland, Ohio where he met Pamela Dickens.   Charles and Pamela in New Mexico 1992 Medina   In 1995, Charles married his third wife, Pamela and relocated to an old farm in Medina, Ohio (their hermitage). In the late 90's, Pam contracted breast cancer and passed away April 7th, 2000. This was a tragic loss for us all. Pamela Gilchrist was a gifted and well known professional Astrologer with over 2000 clients nation wide. Cleveland Charles (now back in Cleveland) continues to produce volumes of work in mutable media including Mandalas and photography. He is collected by numerous patrons. One of his most extraordinary commissions (1996) was for a group of 48 paintings (Mandalas based on sacred geometric icons) which are hung in the new headquarters building of the company "Corporate Express," located in Broomfield, Colorado. Self Portrait, 2004 Film Making In 2001, Charles became interested in producing and editing documentary film and video, working with Kevin P. Miller. Mr. Miler is an award wining writer producer with numerous film credits including "Let Truth Be The Bias," "We become Silent," and his new film. "Generation RX". Charles was the associate producer/editor on We Become Silent and Generation RX. CG Imaging We at www.CharlesGilchrist.com (CG Imaging) manage this site and have reproduced a poster, several limited editions, and numerous prints based on Gilchrist Mandalas. In this section, (Sacred Geometry) we are introducing Mr. Gilchrist's brilliant work in Sacred Geometry to a larger audience. Gilchrist's MandalaMarch 31, 2005 A Large Metatron's Cube (42" X 42" X 3") Workshops on Sacred Geometry Charles has recently begun a new Lecture-Workshop series, each including a limited edition booklet holding numerous Gilchrist Mandalas and graphic works, many never before published in any form. The first Workshop of the series is entitled, Sacred Geometry and The Traditional Oracular Systems. His teaching is both entertaining and informative. Video Workshops In september 2007, Charles launched his first Video Workshop on Sacred Geometry, choosing YouTube to introduce his understanding of Mandala and Sacred Geometry to the world in video form (see links below). Look for more coming soon.   If you would like to hear this very unusual artist speak about his beautiful spiritual work and the fabulous transcendental world of Sacred Geometry, contact us via E-mail or call us at (216) 529-1568.

Charles Leslie Gilchrist showed marked artistic talents at a very early age, drawing and painting constantly. His artistic career really began at the age of four, as he was already convinced of his life's path. His formal art education began at the age of 11 (1951). He was the youngest student ever taken by Genevieve Ingram Frickle, a well known portrait and landscape painter, living, working and teaching in Wichita. She developed his natural drawing talent and taught him to see as an artist. Charles' journey has led him to many places and careers from truck mechanic, racing engine builder, commercial photographer, graphic artist, and fine artist. In 1972, Charles reentered the Cleveland Institute Of Art and, while working full time as a commercial photographer by day, graduated from the night school program (1977) majoring in Intaglio print making. Through his studies, Charles discovered the classical concepts of open-eyed meditation and began to create Mandalas as a path to self discovery. Charles (now back in Cleveland) continues to produce volumes of work in mutable media including Mandalas and photography. He is collected by numerous patrons. One of his most extraordinary commissions (1996) was for a group of 48 paintings (Mandalas based on sacred geometric icons) which are hung in the new headquarters building of the company "Corporate Express," located in Broomfield, Colorado. In september 2007, Charles launched his first Video Workshop on Sacred Geometry, choosing YouTube to introduce his understanding of Mandalas and Sacred Geometry to the world in video form. http://www.charlesgilchrist.com/ http://www.gilchristbnw.com/ http://www.youtube.com/user/CGimaging/featured

Charles Leslie Gilchrist showed marked artistic talents at a very early age, drawing and painting constantly. His artistic career really began at the age of four, as he was already convinced of his life's path. His formal art education began at the age of 11 (1951). He was the youngest student ever taken by Genevieve Ingram Frickle, a well known portrait and landscape painter, living, working and teaching in Wichita. She developed his natural drawing talent and taught him to see as an artist. Charles' journey has led him to many places and careers from truck mechanic, racing engine builder, commercial photographer, graphic artist, and fine artist. In 1972, Charles reentered the Cleveland Institute Of Art and, while working full time as a commercial photographer by day, graduated from the night school program (1977) majoring in Intaglio print making. Through his studies, Charles discovered the classical concepts of open-eyed meditation and began to create Mandalas as a path to self discovery. Charles (now back in Cleveland) continues to produce volumes of work in mutable media including Mandalas and photography. He is collected by numerous patrons. One of his most extraordinary commissions (1996) was for a group of 48 paintings (Mandalas based on sacred geometric icons) which are hung in the new headquarters building of the company "Corporate Express," located in Broomfield, Colorado. In september 2007, Charles launched his first Video Workshop on Sacred Geometry, choosing YouTube to introduce his understanding of Mandalas and Sacred Geometry to the world in video form. http://www.charlesgilchrist.com/ http://www.gilchristbnw.com/ http://www.youtube.com/user/CGimaging/featured

Houston's Museum of Printing History was founded in 1979 by Raoul Beasley, Vernon P. Hearn, Don Piercy, and J. V. Burnham, four printers with a passion  for preserving their various printing-related collections and sharing them with the community.  Chartered in 1981 the Museum had its official opening in 1982 with Dr. Hans Halaby, Director of the Gutenberg Museum in Mainz, Germany, cutting the ribbon.  The mission of the Museum is to promote, preserve, and share the knowledge of printed communication and art as the greatest contributors to the development of the civilized world and the continuing advancement of freedom and literacy. It does this through an active, on-going exhibitions program, and a series of book arts workshops. I met with Museum Curator Amanda Stevenson this past summer to talk about the collection. During our conversation she delivers a very informative thumb-nail sketch of how relief and intaglio printing techniques work.

Intaglio uses metal plates into which lines have been incised; it includes engraving, drypoint, etching, mezzotint, and aquatint. The ink is pressed into the lines with a dabber and the remaining ink is removed. The paper is dampened, placed over the plate, and passed through a press, where it receives ink from the lines, printing the image in reverse. The pressure from the press must be strong enough to force the damp paper into the lines on the plate, lifting the ink onto the paper. Intaglio printmaking emerged as an art form in the fifteenth century in works by artists such as Albrecht Durer (1471-1528) and Rembrandt van Rijn (1606-1669). While many artists continued to experiment with intaglio, in the twentieth century, publishers Universal Limited Art Editions (ULAE) and Gemini G.E.L. fostered new approaches to the medium, which contributed to a printmaking renaissance in the United States.