Artist Sarah Welch and I produced this art print during the planning stages of the Misseen book.
We needed to test several sample sheets of paper before committing to
an order for the production of the book, and rather than waste those
printed sheets, we decided to make a small edition of art prints on
This edition also market the first time we attempted to print on text
weight paper. Generally, we prefer to use water based inks here at the
studio, but these inks have a tendency to distort paper. The effect is
usually greater on light weight papers, as they can not stand up to the
process of the ink drying.
Yet, to our great surprise, these one color art prints turned out nearly perfect and we were happy to print them and Misseen on 80# text weight. Screen printing strikes again!
Another happy accident was that we managed to use the proceeds from
the sale of this art print to help fund the production costs for Misseen,
which was one of our most ambitious projects to date. As a comic /
artist book, we made the decision to screen print the entirety of that
book by hand, which is almost unheard of to our knowledge, due to the
amount of labor that goes into producing a book this way.
I believe that this is something all artists should consider doing,
as it helps pad the expense of bringing a new work to light. And also,
if during the process you can properly prototype the work you have in
mind while making some profit off of the prototypes, then you’re in a
much better position to accomplish an ambitious project with less risk
during the printing phase of production.
The image itself comes from one half of a two page spread contained in Misseen,
wherein a young Sarah Welch, suffering from bad vision, mistook her
mother’s pile of black laundry for the family cat. The realization was
made when she reached out to pet said cat.
This edition is sold out. Thanks!
Continuing the series that Galzelle began, Gal Ram is
one of the first screen printed art prints produced after we relocated
to Austin, Texas. Since then, we’ve relocated again to Houston, Texas.
After I gained access to a proper studio space and worked at improving
my printing skills via an internship in the field, I was eager to try a
more complicated print. This edition’s texture comes from a sampling of
wood grain, which was then translated into several stochastic dot
patterns to form the background of the figure. I really like the
resulting effect, and I think this print does a better job than Galzelle of bringing the source material into its own.
It’s important to think a little about the differences between
stochastic and halftone screenings when planning out a project. Overall,
we recommend clients to consider their source materials in order to
stay true to those aspects in a print. Working from an irregular pattern
like wood grain, as we did with this art print, is served best by using
an irregular dot pattern. These dither, or stochastic, patterns follow a
form of stippling to translate changes in tone into a pattern than can
be printed by screen printing. On the other hand, if you’re trying to
replicate a more measured, regular transition between areas, halftone
dots are the clear winner. Their measured pattern is forced along a
grid, and stays cleaner and better defined throughout a run, and relies
on an optical illusion to translate the appearance of gradual tone to a
work. This technique is great for subtle transitions between areas
because of this.
This print is a 5 color screen print on 100# Cougar Opaque Cover Natural. It measures approximately 20″ x 26″.
Cat Screen Prints! This edition of 4 separate color-ways
marked one of the first complete editions ever produced in our career.
Our obsession with cats has yet to wane in the years since this edition
was completed, but we sure seem to print a lot less cat related art
Fairly rough around the edges, this print was primarily an early
experiment in working with ink mixing and registration techniques.
Without many guidelines on the process, I found myself jumping right
into the process to learn as I went. Currently, my technique is to build
up layers for printing digitally, in order to easily prepare
separations and also have a means of checking out alignment between
layers before printing. But, at the time of this print’s creation, we
were using enlargements from Kinko’s as our film positives. You just
needed to apply vegetable oil to the bond paper to make a translucent
medium. Of course, you couldn’t store any of your past “films” without
having them go rancid. That was one way to ensure edition integrity!
Although our later work benefitted from additional practice and
training, there’s still a soft spot in me for this early series. Maybe
the naiveté is part of it? Or maybe it’s just a good gauge of how much
ground has been covered in the proceeding years? It could be time for an
update in this series of cat screen prints!
Each print was printed on heavy-weight Bristol paper with waterbased
ink, and drew heavily on a series of illustrations from a medieval guide
to alchemy. As per our original love of a good non sequitur, each color
used across the 4 color-ways was picked to experiment with
transparency, overprints, and interaction of complementary colors.
This edition of cat screen prints is sold out. Thanks!