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.

That said I seem to travel all the time and this past year-long sabbatical has enabled me to explore far reaching corners of the world from a former Soviet state, to a charming Belgium village, to the fascinating frenetic city of Kolkata India. (Many of you I saw along the way) Having worked in print shops as far south as Cape Town, South Africa (Hard Ground Printmakers) to as far north Aberdeen Scotland (Peacock Printmakers) my tenure as a printmaker has meant adapting to varied situations, working in exciting places and meeting fantastic people.

I thought it would be interesting to start a segment for this blog called “UnPack and Print” in hopes that we can share, places, antidotes, advice, and opportunities because I’m always up for a place where I can unpack my suitcase and get some ink under my nails.

Starting with my most resent residency experience and working backwards in installments here is the unofficial scoop.

Frans Masereel Graphics Center, Kasterlee, Belgium
April 20, 2008

Three weeks goes by quickly therefore if you have a residency come prepared. The Frans Masereel Centrum de Graphica is a Flemish state run organization and like the precision of the train system this place operates by the clock. In fact the electricity is on a timer and cuts off at 8:00 PM on the dot. The studios open at 8:00 AM, so if you are a late night worker this is not the residency for you. They provide facilities for screen, litho, intaglio and relief. The presses aren’t large but adequate (the web site provides the details in metric) The studios are all domes. Each artist’s accommodations are A-frames. (One of the other artists, a New Yorker, christened the 10 buildings the Smirf Village, incidentally, Smirfs are Belgian.)

I chose to work in screen because of access to a one-arm vacuum-printing table and due to the fact that I could come with printouts ready to expose and be printing by the 2nd or third day.  They provided screens and inks. I purchased paper there but with the dollar in the dumps if you can bring your own do so.

Each artist gets his own A-Frame with living area, TV, drafting table, dinning area, kitchen and two bedrooms up stairs (so you can bring your children). The kitchen has all the appliances, 4 cups, 6 plates, 6 forks, etc. You will just need to provide all your groceries, spices, etc. (sometimes stables get passed down from previous residence)

People come and go all the time so there are staggered overlaps and the staff relies on this to help orient the “newbees”. In fact when I arrived a colleague from graduate school that I had not seen in many years was in the etching studio wiping an etching plate. (A shout out to Susan Campbell “Great to see you girl”.

I was hoping to meet lots of international artists, but almost everyone there during my stay was American. However there was this great Belgian art couple called “Cake House” and a fellow from Zimbabwe. They have housing for 10 artists but not all were occupies. There is a friendly staff although at times they seem over worked and you need to make sure you catch them when you see them for items you might need. They are government workers and leave at 4:00.  The more self-sufficient you are the more work you will accomplish.

The three weeks is not exactly 21 days since you can only check in on a week day between 9-12 and 1:00-4:00 and you usually must check out on a Friday. Sometimes they can extend it if your cabin is not needed right away.  You must leave your cabin clean or they will charge you to clean it!

Each artist is also given a bike with saddlebags and lock. The town is charming but rather uninteresting, Antwerp is a 45 min train ride, very inexpensive if you do a day return on the weekend. And public transport is easy but not well explained on the web site.

The studios are closed on Sundays but you can work in you’re  A-frame, or take the train to Antwerp (a very groovy city) or explore the countryside on your bike. The break is really necessary especially if you have been really working hard. I was able to create about 68 prints in the time I was there. The Center takes a percentage of the work but they only took 4 works of mine so I felt it was more than an adequate exchange. There was also a 130-euro fee for housing etc. but that seemed minor in exchange for everything they offer.

Next installment CHHAP, Baroda India

Then to follow:

Anchor Graphics, Chicago, IL

Hardground Printmakers, Cape Town, South Africa

Peacock Printmakers, Aberdeen, Scotland