Thursday, December 5, 2013
Friday, November 15, 2013
During his week at MATRIX Press in November 2013 Sean produced a beautiful four block color woodcut entitled "BASH" (edition of 44)
Sean’s work offers the viewer a broad view of contemporary satire. His numerous woodcuts, cut in a rough, expressive style, reflect on everything from traditional images of Americana, to kitsch, southern culture and our
This event is sponsored by the Jim and Jane Dew Visiting Artist Program, with additional funding provided by MATRIX Press and The Montana Museum of Art & Culture.
"BASH" 26"x36", 4 block color woodcut (edition of 44)
Beth Huhtala, Jason Clark and Tressa Jones punching paper for registration.
The Man at work.
Talking with printmaking class.
Sean cutting key block.
Sean with finished key block.
Key block inked up.
James Bailey rolling up the magenta block.
Jason and Beth proofing cyan block.
Magenta and cyan blocks printed together.
Magenta, cyan and yellow blocks printed.
Eva, Jason and Beth printing yellow block.
Individual block proofs.
Printing the key image. (First finished print off the press)
Eva and Beth printing final key.
A thing of beauty to behold.
I would also like to thank the great print assistants we had on this project for without their dedication and long hours this project would not have been possible. - James Bailey, Professor & Director of MATRIX Press.
Jason Clark, Tressa Jones, Beth Huhtula & Eva Stone
You know what? I love making woodcuts! The explosive energy I put into carving a woodcut suits my energy charged, caffeine induced, aggressive approach to image making. Charles Bukowski, Ms Pacman, Phillip Guston, and Neil Blender are my main influences. Last night I finished a new woodcut. In the morning I’ll get started on a new one. On Christmas Eve, after the kids are in bed I’ll be cutting a block, I really do love it. I don’t spend a lot of time deliberating over what to draw next. I drink a lot of Mountain Dew, so I include Mountain Dew bottles in my artwork. I like ice cream cones, hot dogs, snakes, guns, alligators, goats, and girls, so that’s what I draw. My primary concern is to create a strong visual infused with a sense of satirical humor. In other words, I like to tell funny stories using funny pictures.
-Sean Star Wars
2008 Certificate in Graphic Design. Savannah College of Art and Design. Savannah, GA.
1999 M.F.A. Printmaking. Louisiana State University (LSU). Baton Rouge, LA.
1996 B.F.A. Printmaking. Old Dominion University (ODU). Norfolk, VA.
New York Public Library System
HF Johnson Art Museum
Amity Art Foundation
Philadelphia Print Center
Northern Illinois University Art Museum
University of Mississippi
New Orleans Museum of Art
Iowa State University
Parsons’ School of Design
University of Kansas
University of Wisconsin, Madison
Louisiana State University
Old Dominion University
West Virginia University
Thursday, October 24, 2013
Print Portfolio Exchange
This is an open theme portfolio where printmakers are welcome to use their diverse ideas to create an
edition using any traditional printmaking technique, i.e.; woodcut, intaglio, lithography, screen-print etc.
(Digital prints are not acceptable) for the second annual Ink Bandits exchange.
One print from each artist’s edition will be reserved for the collection of the University of Texas of the
Permian Basin and a second for an exhibition at Dee’s Bistro on December 18th, 2013. The full portfolio will
also be published in an online gallery at inkbandits.blogspot.com. Any additional exhibitions will be
announced on the Ink Bandits web page.
Deadline: November 30, 2013
Paper Size: 11” x 14”
Edition: 16 prints (14 returned)
Each print should be editioned and protected by a sheet of glassine or newsprint the same size as the
paper. All prints must be hand pulled and original. Please include the entry fee in your package, with
checks payable to the University of Texas of the Permian Basin (UTPB). Prints should be shipped in a reusable
Visual Arts Building
University of Texas of the Permian Basin
4901 E. University Blvd.
Odessa, Texas 79761
622 N Lee Ave
Odessa, Tx 79761
Opening Reception: December 18th, 2013
December 18th-20th, 2013
If you have any questions you can contact Mario Kiran at
Please include the following information with your package:
Title of Print:
Enclosed Fee: $20 (cheque/cash)
Tuesday, October 15, 2013
Chemistry 2014 Last Best Printfest Portfolio Exchange Portfolio Information
As part of the upcoming “Last Best Print Fest” the ZACC Printshop is hosting it’s forth annual
portfolio exchange. All local printmakers are invited to submit an edition of prints based on the theme
Chemistry. Of the edition of twelve, ten of the prints will be redistributed to other participants in a random
selection process, and one print will be available for sale at The Printfest Portfolio Exchange Opening on
February 14th, as a fundraiser for the ZACC Printshop, and the last will be retained as part of a complete set for
the ZACC Printshop Archive. The prints from the portfolios will be exhibited at The ZACC from February 14th
through March 9th as part of Printfest. For more information contact Patricia Thornton at
For this exchange we invite you to interpret the word as narrowly or broadly as you want and submit your
strongest and most compelling print with Chemistry in mind.
The exchange is open to any printmakers in Montana. Editions should consist of twelve impressions numbered
1/12 to 12/12, using any archival material.
Paper size: 11”x14” - prints can be full bleed
Edition size: 12; numbered 1/12 to 12/12 (no proofs or editions larger than 12)
Media: All forms of printmaking are accepted.
Labeling: In pencil, clearly print artist’s name, title, and media on the back of
Prints must be the original artwork of the submitting artist, and must be dry at the
time of submission. The portfolio organizers reserve the right to refuse entry of any submission that fails to
conform to the portfolio guidelines.
To participate in the Portfolio Exchange we require that you register through Submittable.
CLICK HERE TO GO TO SUBMITTABLE:
CLICK HERE TO GO TO SUBMITTABLE:
Portfolios will be due by Dec. 15th, 2013. They can be submitted to The Zootown Arts Community Center, 235
North 1st. Missoula, MT. 59801.
Sunday, January 27, 2013
Sunday, December 16, 2012
from: "Wired", by Liat Clark
Bored of the standard printing process, artist Sam van Doorn has created STYN, a playfully chaotic design tool made from lithographic ink and a pinball machine.
The idea struck van Doorn while he was printing off a poster. “I realized the printer did exactly what I told it to,” van Doorn told Wired. “What would roll out of the printer would be predictable; every program and machine has its own aesthetic, which is easily forgotten when working as a graphic designer. Everything was too predictable, I wanted to be surprised.”
The prints are made on a poster that is placed under the pinball machine’s flippers. It has a grid printed on it outlining the field in which a 26mm ball, covered in ink used for lithography printing, will move. By playing the machine, the balls leave behind a trace of their path, creating an unpredictable pattern.
It took van Doorn hours of research to create the right ink mix to make sure the ball retained the ink for as long as possible, without making it too sticky to move.
“The challenge was to get the right paper and ink for the project, as well as the right rubbers to let the ball have a good bounce. The ball has to be able to move smoothly across the surface of the machine, to create a good game environment — the project wouldn’t be interesting if the machine wasn’t fun to play.
“If the ink was too thick, the ball would stick to the paper. But if the ink was to smooth, it would simply slide off the ball. The paper had to be smooth for the ball to create good patterns, but not too smooth so it would lose grip.”
After much trial and error, van Doorn was able to find a balance that allowed a single ball to be played with for hours and still leave a pattern. The resulting experience of play and print is an engrossing one.
“I underestimated the attraction of a pinball machine. Once people started playing they were dancing behind the machine to keep the ball in control, completely focusing on the game. Everybody wanted to play, not just for a print but for the fun of the game.”
Such is STYN’s design, that prints betray those players who struggle to keep the ball in play. Van Doorn was surprised to find the players to emerge with the best prints during the interactive exhibition were the 40 to 60-year-old men. “Man they could play that machine like I never could. After years of experience in pinball, damn they made that ball fly.”