Najia Mehadji in December



The artist of Morrocan origin, Najia Mehadji starts her composition for a 75x105 cm.

3 color lithograph.


Najia takes her time before hitting a composition : a peaceful trance.



She worked on several ideas. This particular composition ultimately was not chosen.


Her image will be the third in line for a recent publishing ambition by French monthly art magazine Art Absolument which will be offered to their readers at a special price.




Dine in December ! 



Jim Dine has started another insane, and I measure my words, print project. And in terms of printmaking, its more painting with print than either of the two. We're using strictly old material to transform into new. A recycle concept.  The greyish background is actually an editionned aquatint from the early eighties he had shipped over. The Pinocchio twins are from a cutout zinc etching plate carved front and back from '08. The central Pinocchio figure is a woodblock from '11. But the result will be 2014 ! 



Dine discusses plan with Woolworth.


Printer Marc Moyano concentrates on a Bordarier plate

with the first step of the huge Pinocchios as a decor.



This image is a first in a genre for us. Its a ping pong match. First he paints, then we print.

Then he paints and we print on top. So forth and so on. Each party intervenes 5 times.


Jim Dine painting the Pinocchio figures in step 3. On right, a mock sheet with central figure in woodblock pinned to main sheet as he's trying placement.





November : Step one of Marc Desgrandchamps' Pliny the Elder project - The Letterpress 



The Pliny the Elder project starts with printing the text fragments chosen by Desgrandchamps.


François Huin, captain of S.A.I.G., one of the last letterpress operations sets the type prior to printing.



Master printer Monsieur Hue checks imposition on

first sheets.





Close up of the linotype being prepped for departure.


Wide angle of letterpress local. A jungle of words.





October : A photogravure installation piece for cinematographer artist Philippe Grandrieux



The artist Grandrieux took a still from his recent film White Epilepsy which we transferred onto litho plate and made a print onto BFK Rives at 19 copies invariably inked. He will use it as an installation piece in upcoming shows.






In August, the Swiss farm door by artist Eloise Van der Heyden



A early 20th century swiss farm door was dismantled and reassembled for scanning.


The Belgian artist Eloise Van der Heyden works with Gilles Laurent at his I-Labo scanner in Paris.


The old door is scanned in two parts.



Gilles Laurent surveys the operation as the door goes through. 


A closeup of the door on the scanner table.


Eloise verifies levels on screen.



The result above is a lithographic proof 2M20 x 98 cm. on japanese paper at 7 copies.
Two positive silver print films were made and transferred onto litho plate and pieced together while printing.






Late June early July : Blaise Drummond and Djamel Tatah




Djamel Tatah has come in to review state of affairs for ongoing project.


Upon seeing, he decides to touch up an area of his drawing.


Two of the three large format pieces are hanging on the walls in their final state.




Irish artist Blaise Drummond starts drawing mylar for our first large format project.


The image will have 8 color passes.


Drummond uses a dropper to apply his splash marks.




Result of first trials of Feel Better. Format 120x160 cm. Woodcut and lithography.


In addition to a another color image 63x90 cm., the artist has drawn three small compositions staight up on stone to remain in one color. This one a depiction of Thoreau's cabin in Walden.



In June : A uncovered treasure.



A beautiful stock of high quality large Solnhofen litho stones has come into our possession. 


The stones were abandonned for 40 years in a somber hideout south of the Fontainebleau forest.


We pulled them out and layed them near a poplar grove to be examined and assessed.



The stones belonged to a disapeared old litho shop undisclosed, probably in activity in the 50's and 60's.


An added feature of a French hand litho press, same as we use came with the deal. It will need refurbishing, but its essentials are intact.



In May : Stéphane Bordarier 



               Bordarier examines fresh proofs for artist book project with American poet Susan Howe. 

A co-production Woolworth/Th.TY. for release end of fall.




In April: Philippe Cognée, Frédérique Loutz, Gilgian Gelzer, Marc Desgrandchamps



The Brittany-based artist Philippe Cognée puts the finishing touches on his linoleum before final proofing.


This image, Tel Aviv IC, is our first collaboration with Cognée: a commissioned piece for the French art magazine Art Absolument. Format 75x105 cm. Edition size : 30.

Cognée added two extra color passes with a litho plate.



The Swiss artist Gilgian Gelzer begins our collaboration with several large-scale compositions drawn with watercolor pencil or lightfast pen on tracing paper.


He is simultaneously working on litho stones to be combined with litho plate, laying down compositions of the same format.


The lines on stone are fuller and more sensuous than those drawn in pencil on smooth tracing paper.



French artist Frédérique Loutz, from the Lorraine region, popped in for a drawing session, an elaborate pen-and-ink nightmare image of teeth.


The completed stone is being etched, to be printed the following morning.


Loutz arrived fresh from collaborating with the Meisenthal glassworks in the Lorraine region, and shows Marc Desgrandchamps photos of her glassware projects, at the same time unveiling her recent drawings.



Lyon-based artist Marc Desgrandchamps settles in for the third session on our book, which incorporates texts by Pliny the Elder.


He has begun inking color separations for plates 5 & 6 (out of 15).


A stone is laid upon the table for him to draw plates 7 & 8.





In March, Gunter Damisch and his Albertina project



Austrian master Gunter Damisch arrived in town for an exhilarating jam session to produce 40 monumental woodcuts, each a unique piece. He shipped us 12 wooden plates carved in Vienna, with which he improvises through constant overlapping. On the left, the first color passes of Djamel Tatah's new image.

Many of the resulting prints will be shown in an important solo exhibition at the Albertina museum in Vienna this June, in a gallery containing only woodcut. The first two galleries will be filled with etchings made in collaboration with the Viennese print Jedi Kurt Zein.



Gunter Damisch worked in very close collaboration with the printing team during his weeklong stay.


He also arrived with his Austrian assistant, Ronal Fritz, who worked primarily in our front space, which was transformed into their "collage" room. Damisch simultaneously pursued several directions, including making 15 large collages over which we printed the woodblocks.



After a solid day of laying various yellows on the first sheets, the team shifted to red. 


The workshop, completely overrun by the Albertina ambition. On the far right, the first collages hang after receiving a yellow color pass.



Printer Marc Moyano takes a break during the 'red day'.


Silver has now begun to be printed, both on the collages and on individual images.



Marc Desgrandchamps begins his Pliny the Elder project in March


Marc Desgrandchamps's worktable with the first compositions for his new book project, Fragments of Pliny the Elder - Historia Naturalis - book XXXV - History of painting. An ambitious endeavor: the book will contain 15 excerpts of the text, selected by the artist, in counterpoint with 15 compositions, hand-drawn in pen and ink on lithographic stone. Three color passes will later be applied to each image. The book is scheduled for publication in 2014.



           French painter Marc Desgrandchamps hard at work on his intricate compositions.




Closeup of one of his drawings, along with certain documents on hand for consultation.


Everything for the project has been complied over the past months in this simple, blue notebook typically used in the French schools. It is our master.




Djamel Tatah, in February, in the beginning stages of new editions




Djamel Tatah begins the largest piece ever produced on a single sheet by the atelier, 2M50 x 1M33. The BFK Rives factory kindly made a special paper for us by enlarging their capacity from 1M20 to 1M33. This image will be one of three new projects published by the atelier.



This image will be mix lithography and woodcut. Step one: tracing paper is attached to the wooden board, and the artist settles his composition for lithographic plate on the tracing paper. He employs lithographic pencil and black gouache.


The wooden board will later receive a transfer of these drawings onto its surface, enabling the artist to visualize precisely where he will gouge out the wood. The wood will primarily be used as a background color.






Kate McCrickard in February




Kate McCrickard, a British painter, lays down her coats en vue of a monotype, format 56 x76 cm, on BFK Rives paper. The David Krut Gallery commissioned a set of monotypes for her upcoming show in their New York space in late March. Pinocchio, on right, keeps on eye on her.





The artist's compositions lend themselves particurlarly well to the monotype process.





Ofer Lellouche: new woodcuts in February




Ofer Lellouche carved these two wooden boards over a weekend in the atelier.





Ofer poses for a photo shoot in front of the first proofs of the monumental new woodcuts.





Jim Dine in January, new images for Pace Editions



The stage is set for new approach in early January 2013. Dine has decided to drop a cardboard intaglio onto a color image that already has 7 woodcut passes. A trace was made onto cardboard of the existing image, left, so he understands where he can play. The image on the right is the trace placed on top of same image. 

The artist has painted his composition onto the cardboard and starts to prep his tools for carving.




Chainsaws, electric drills, dremels, hand gouges, X-acto knives, sanders and electric gouges are primarily the tools he will use to shape this image.

He carves away white areas.




DIne at work with electric gouge.




Before passing the carboard (which has now been turned around after receiving a coat of acrylic medium) under the press, he added yellow oil paint in the whiter areas.



Before, a surprising state. The next day, the cardboard intaglio was proofed on top.



On the far left, the proof of a black-cardboard intaglio before it is placed onto the colored image.



These images will be produced at 15 copies.


In late January, Jim Dine came to the workshop to create an etching by drawing with abrasive tools onto a clear plastic sheet. The plastic sheet was placed on top of an existing image made with 4 woodcut passes; he drew areas using a black magic marker to trace where he intended to work.



Using an electric grinder.

He gently strokes the surface, laying in an effect reminiscent of an aquatint bite;when inked in black, it resembles a soft charcoal drawing.



His second tool is a chainsaw.

The chainsaw is used to create hacking marks throughout the piece. thus contributing to the surface texture.



The artist's third tool: fire.

Fire melts plastic, making a big stench but also creating a particular surface quality.



At this point, printer Julien Torhy inks up an area so Dine can see a bit what he's done before continuing.

 The plate is inked up like an etching.