Frédérique Loutz



Frédérique Loutz : Fèdre




Frédérique Loutz signs the new edition of Fèdre et le vilain petit Icare with the help of Ernesto Castillo, author of the book's poems. March 2009.




The Fèdre drawings hang in the atelier for final selection, January 2009.

A series of 33 images were chosen and printed in lithography. From these, 3 different sets of 11 prints were selected. Each set is boxed in a slip case, accompanied by texts and colophon.

Fèdre was unveiled at the artist's solo show in March at the Claudine Papillon Gallery, Paris. It can also be seen this spring at the vitrine at 18, rue Dauphine, Paris 6; the Force de l'Art exhibit, Grand Palais; and at the bookstore 78, rue Mazarine Paris 6.






Jim Dine





Above: Jim Dine chooses the colors for the kaleidoscope background of a new, large-format Pinocchio lithograph-and-woodcut print, January 2009. Right: Constructing an image.





José Maria Sicilia



José Maria Sicilia retouching a proof of a new photogravure lithograph, combining an oriental-rug motif with a flower pattern of rose blossoms. March 2009.




Richard Gorman



Above, the printers use pinpoint registration in order to create the overlapping of colors on Japanese paper necessary for this image.


Irish artist Richard Gorman's working table for new woodcuts. May 09




Stéphane Bordarier



Final trials of 3 new woodcuts by Richard Gorman in May.





Jim Dine


First proofs of Stéphane Bordarier's woodcut series "Dix Paires".


First proofs of new Jim Dine lithographs of Pinocchio heads.




Jean-Michel Othoniel




Jean-Michel Othoniel deciding color combinations during session in July.





Djamel Tatah



30 lithographic monotypes on white gold leaf were produced for the artist's show Les noeuds de Janus in November - December 09 at his gallery - Emmanuel Perrotin in Paris.


Djamel Tatah applies his brush on one of the 11 color passes for his monumental woodcut & lithography in September.


The drying of the proofs. After first 5 color passes, ink level was such, the proofs were tacked to wall to dry for several days before being able to stack them.