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¡Ai Gatito! Art Print

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 paper.

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!

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Gal Ram Art Print

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″.

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“God is Cat and Cat is Good”

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 these days.

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!