For years now, traditional printmakers have been trying to come to terms with the digital revolution and how to place digitally-generated images from the more commercial sector within the framework of fine-art printmaking.

This posting will not delve into these same overcooked debates; this entry has more to do with my observations as a teacher of BOTH traditional and digital printmaking techniques.

The images shown are of “states” of a cd cover image I created as an example for my digital imaging class, where music, imagery, fonts, and text all had to be cohesive.  “Walk a mile” refers to both the saying (walk a mile in someone else’s shoes) but is also self-referential.  Many of the songs included on the cd are singer-songwriter, blues, and country tunes about walking, running, or traveling.  The waves in the background are formed from many “slippahs” (flip-flops for you Mainland folk), characteristic footwear of Hawaii, while the character is a caricature of me in my teaching regalia.

In both digital and traditional printmaking, there is an inherent experimenting, planning, and layering that takes place.  Unlike media such as painting, individual layers can usually be removed or altered for future variations or editions. Layering is extremely useful in both traditional and digital media for isolating, editing, or deleting single elements of a print, WITHOUT affecting the rest of the image. Layering is inherent to image creation in Adobe creative software; as with traditional printmaking those layers at the top (of the layers pallet) appear over the layers below them. I liken digital layering to having images on transparencies that are piled one over the next; most layers involve just one element floating in space, allowing windows to view layers below.  Layer opacity in both media may also be altered to allow a range of possibilities for viewing the layers below.

Through my experience teaching high school students a variety of art media, I have discovered that this understanding of layering in art helps students transition across the digital – traditional printmaking barriers.  Students that have already learned traditional printmaking have been much more adept at learning digital media because of their former understanding of layering, and vice versa.

Enrique Chagoya‘s new book

Illegal Alien’s Guide to Political Economy

Printed by Robert Blackburn Printmaking Workshop  at Anchor Graphics during the 2009 Southern Graphics Council Conference.

Above: Inside cover, page 5 (notice the skulls to note the page number), and back cover.

Pictured above: Left; Phil Sanders and Robert Mueller; Right; Tina Maidhof and Chris Dunnett.

This was an ambitious project starting an artist book and completing it over the course of a week.  The collaboration between Phil and Enrique began in New York City at the Robert Blackburn Printmaking Workshop. Drawings were made, scanned, printed onto film, brought to Anchor Graphics studio in Chicago where more drawings were completed.  Plates were exposed, printed, books were assembled, sewn and signed all with a non stop audience of at least 50 or more people surrounding the presses.

The last book was signed about 20 minutes before the studios closed on Saturday afternoon. This whirlwind of a project produced a very unique and beautifully drawn and printed edition.  A true collaboration of artist, printer, as well as printmaking studios.

The edition size of this book is only 75 and are at a very reasonable price.  To purchase or for more information and images please contact RBPMW at 646-416-6226 or email phil@efa1.org.

Fall 2007 Exams Doodle.  Mostly just filling space with line and pattern – I always tend to create images with faces in them.

At the end of each semester, teachers at my private school are all required to proctor 5 of 6  90-minute final exams.  During this time, we are not to do anything productive, but to watch with eyes peeled for the prolific cheater.  Basically, we’re to stare at a classroom full of girls in uniform for an hour-and-a-half; Blink. Blink.

Spring 2008 Exams Doodle.  This was a contour study of the girls’ hair, the stripes on their uniforms, and audio-visual cords hanging in the room.

During these times, I have done everything from take surveys of students’ accessories and behaviors (11 have their hair up, 2 are wearing jackets, 6 are wearing converse, 3 have hoop earrings in, 2 are tapping their feet nervously, etc.) to writing silly songs for friends (“Cassandra of the Red Hair Clan” was written to the tune of Pearl Jam’s “Betterman” – Yes I did actually create this for her in GarageBand, and no you will probably never hear it.) to occasionally doodling and trying to remember to glance around often.

My printmaking has always been related to my drawing skills – and never more than with my current screen print work.  When I was younger, I strove for realistic representation; now, I value creative ventures that utilize the imagination more as source material (This has been a difficult self-imposed aesthetic for someone who was very comfortable and used to being praised for depicting the world around her as it appeared.)  These doodles are the results of my time spent proctoring exams, from oldest (last year) to just about a week ago.

Fall 2008 Exams Doodle.  I’m feeling a need for silliness and simplicity – a retreat into my youth.  I have constantly struggled to get rid of the extra information that deters from the message of my work…Then again, not a very heavy message to this imagery. :)

If nothing else, the evolution of my exam doodles prompts interesting self-reflection.  And this ordered time forces me to put aside my endless list of to-dos in favor of pure mindless drawing and playful prose – imposed creative time.