Printmakingblog

2009-10 CATALOG

2009-07-16T10:00:00.000-07:00

We are in the final stages of production for the next edition of Graphic Chemical & Ink Co's Printmakers Materials catalog.

I am usually surprised at the list of new items that have found their way into the catalog. It shouldn't be a surprise because we spend a lot of time actively searching for new items. Just in the past year we have attended numerous trade shows looking for things to tempt you...things that aren't found in too many printmaking supply catalogs.

As the logo above attests, we have added several complete lines of Lascaux products, including the Studio Colors and the Resonance Gouache. Both lines have a great range of colors. These are remarkably high quality acrylic colors worthy of any studio.

In a conscious effort on our part, we continue to add significant numbers of Oriental papers from several sources. Our goal is to provide as many types of papers as possible. Actually, more to the point, our goal is to sell more types of papers than anyone. Our paper specialists have really gotten into these thin papers, and are obsessed with packaging them so that there will be no damage in transit. We have a handful of limited supply high end papers. They aren't inexpensive, but they're really great sheets.

Another area that we like to think we excel in is brayers. We've added a new source of brayers that run from 50 mm to 300 mm. These EAC Brayers come in a standard and a deluxe style, and brayers 200 mm and smaller come with a standard single handle, while 250 and 300 mm are a double handled tool.

In addition to the brayers, we have numerous other materials from the same source. Unique products include a combination bench hook and hand guard. We've showed this at a couple of trade shows recently, and people really like them. There is also a 3 in 1 tool set. It is a carving set with 5 blades , a baren for printing your carved block, and it also serves as a stamper. You get round disks that are adhesive backed. These will fit on the baren surface of this tool. The material itself is similar to the Speedy-Cut blocks.

IMPACT VI

2009-06-07T18:21:00.001-07:00

Wow! I had this really amazing post written about the upcoming IMPACT show in Bristol, England. In all likelihood, it was my best writing to date, but you'll have to take my word for it, because I forgot to save it!

The picture above is Brunel's Clifton Suspension Bridge, which is the longest suspension bridge in some place or the first one somewhere. Obviously I don't know anything about it but I've traveled across it and under it by car and train. It's very impressive.

Welcome to the Clifton Suspension Bridge

The Clifton Suspension Bridge, spanning the beautiful Avon Gorge, is the symbol of the city of Bristol. For almost 150 years this Grade I listed structure has attracted visitors from all over the world. Its story began in 1754 with the dream of a Bristol wine merchant who left a legacy to build a bridge over the Gorge.

The first competition in 1829 was judged by Thomas Telford, the leading civil engineer of the day. Telford rejected all the designs and submitted his own but the decision to declare him the winner was unpopular and a second competition was held in 1830. 24 year old Isambard Kingdom Brunel was eventually declared the winner and appointed project engineer – his first major commission.

The foundation stone was laid in 1831 but the project was dogged with political and financial difficulties and by 1843, with only the towers completed, the project was abandoned.
Brunel died prematurely aged 53 yrs in 1859 but the Bridge was completed as his memorial and finally opened in 1864. Designed in the early 19th century for light horse drawn traffic it still meets the demands of 21st century commuter traffic with 11-12,000 motor vehicles crossing it every day.

An Interpretation Centre is situated at the Leigh Woods end of the bridge. It contains information and images of the plans in the competition, the construction and completion of the bridge, and how it is maintained today.
Books, postcards and souvenirs are on sale. Open 10am - 5pm daily throughout the year.

The IMPACT show itself is once again at the University of the West of England (UWE), were it started 10 years ago. Steve Hoskins and Richard Anderton are again hosting what I believe is Europe's premier printmaking conference. The dates are September 16-19, 2009, and we'll be happy to put you in touch with the organizers if you are interested in attending

NAMTA 2009

2009-05-11T11:30:00.000-07:00

The NAMTA (National Art Materials Trade Association) show has stepped down to cities in what is considered Tier 2. We no longer go to New York, LA, Boston or Chicago. but now we travel to Reno, Louisville, Indianapolis and Orlando.

This year's show in Louisville was no step down in my mind. Whether it's the economy or the difficulty in getting to Louisville, the show was not very well attended, but those who were there were buying. As with any NAMTA show, the highlight was the President's Reception. The reception was held at world-famous Churchill Downs, less than a week after the 135th running of the Kentucky Derby. It could have been the 136th, but I don't think so.

Most of these fine horses are expected to carry 126 pounds (including the saddle). This poor baby drew the short straw and had the equivalent of two jockeys on his back, but it didn't slow him up even a step - in fact he hardly broke a sweat!

It is entirely likely that if this printmaking supply gig doesn't work out, I may consider a career change. The silks that I'm wearing in the picture aren't the most colorful, but they could improve. Hey if the Derby winner went off at 50:1 how much worse could it get with me on the nag?

There were a number of new items that we are looking at based on conversations at NAMTA. We'll have more on those as testing proves them top be viable or not. More to the point, there were several of our new products were quite the hit in Louisville. The biggest hit of the new products would have to be either the Baren Kit (with 5 or 10 blades) or the Safety Hand Guard which serves as a bench hook, and safety guard all in one.!

Both products are featured on or web site: the safety guard is product #24162 and the Baren Kit is items #24143 or 24144 for the 5 blade and 10 blade kits respectively.

There were numerous encounters at the show, most good, and one really strange one, but I'll need to have more than a little Kentucky Bourbon to reveal the strange one. Don't you just hate it when I do something like this?

SGC CHICAGO 2009

2009-04-06T08:43:00.000-07:00

It came and went so rapidly that we almost missed it, but it certainly left a mark before it was gone. The long anticipated SGC show in Chicago was spectacular to say the least.

While the final numbers aren't in yet, the attendance was off the charts. Over 1800 printmakers registered for the 3 day event, far and away the largest attendance ever for Southern Graphics. The 35 vendors in attendance was another record, and a like number of publishers helped to make the Product Fair the best ever.

I'd like to offer a special thanks to the tireless volunteers on the Organizing Committee led by David Jones from Anchor Graphics. For a year and a half this group met to plan and execute a great show, and that's exactly what they produced. Chicago is always a great place for a trade show.

I'm biased, but the city is a true gem that lends itself to showing visiors a great time. Our restaurants are second to none, and the city's committmentto the arts is unrivaled anywhere. Yes, there were a few glitches - the City that Works decided to do sidewalk repair outside of the main entrance to one of our venues just days before the show started.

A huge last minute registration left many of the demonstrations seriously over crowded. As a vendor, give me a crowd like this any time. The picture at the left was honestly taken during a lull in the Product Fair.

Next year, SGC visits another of my favorite cities...Philadelphia for the 2010 show. With the Chicago show to build from, I expect that this will be another great show. And, about the only thing that comes close to topping a great Italian Beef sandwich from Chicago could be an authentic Philly Cheese Steak!

2ND CENTURY - BETTER THAN THE FIRST

2009-04-01T09:41:00.000-07:00

Yes, this begins the second century - not of Graphic Chemical & Ink (we're only 89 years old), but rather the second hundred posts on the Printmaking Materials Blog. And, what better way to start post #101 than with a recap on the recent Southern Graphics Conference meeting in Chicago last week?

First and foremost, this show was staggeringly successful. I want to extend a special thanks to David Jones of Anchor Graphics who was the guy in charge of everything. Additionally thanks need to go to Andrew Whatley from host school Columbia College. Andrew and David were instrumental in minimizing the problems that always happen with anything this large.
Speaking of large, the registration numbers aren't final yet, but we anticipate about 1800 printmakers registered for SGC! We also had a record number of vendors and publishers. This just serves to prove what many of us already knew - Chicago is a great city, particularly for artists.

As the show ended, we began final preparations for the Graphic Open House. Mother Nature also began final preparations for a nasty late winter storm. We were told to expect 6" of wet, heavy snow, and we probably got 2" at Graphic, but we also got an additional 2" of water inside our production department, too. It was hardly noticed by the 3-4 dozen die hards who braved the elements. Hopefully they appreciated the effort that was displayed by our staff to get everyhting ready.

Thanks also to Gary and Sherril Owens from E.C. Lyons and Walt and Ginny Glazer from Speedball Art for helping out. Lascaux, our Swiss supplier of Etching, Screen Printing and Painting supplies provided Swiss chocolate and free samples of some of their products.

Our hit products at SGC included the Lascaux paints, and the brand new brayers from England. Of course, the Graphic Chemical inks were almost sold out by the end of the show. Everyone that we talked to at the show was similarly impressed with the SGC Conference, and rightly so.

LET'S GET READY TO RUMBLE

2009-03-22T08:23:00.000-07:00

After 18 months of planning, it's go time!

The organizing committee for the upcoming Southern Graphics Conference has done all that they can do in preparation for the best ever SGC meeting. Like any effort of this scale, there have been problems... the Hilton Hotel seems to be trying to get out of this economic situation by charging SGC through the nose for everything. The City of Chicago has chosen this week to do major construction work in front of one of the main venues at Columbia College. No matter, we're ready. There are dozens of galleries in Chicago that are having shows coordinated to the SGC conference.

An original performance, written by Warrington Colescott, will be performed by a Columbia College troupe. And, of course, there is my personal favorite...the Product Fair.

This year, we have 1550 preregistered for the show, over 30 vendors, including several new faces. The Open Portfolio, on Saturday, will once again be in the same general area as the Product Fair in the Northwest Exhibit Hall at the Hilton.

Last, and I hope certainly not least, on Sunday, March 29 from 10:00 am to 3:00 pm we will host an Open House at Graphic Chemical & Ink. We'll have the nickel tour, door prizes, refreshments and much more.

So here's the facts:

SGC Conference, March 26-29 at Columbia College, 623 South Wabash Ave, Chicago, IL
Product Fair, March 27, 9:00 am to 5:00 pm, Chicago Hilton and Towers, 800 S Michigan
March 28 8:30 am to 4:00 pm
Graphic Open House, March 29, 10:00 am to 3:00 pm, 728 North Yale Avenue, Villa Park, IL

See you in Chicago - soon.

OPEN HOUSE - MARCH 29th

2009-03-03T15:08:00.000-08:00

I have been announcing this in numerous ways, but lo and behold not here. What was I thinking?

In conjunction with the Southern Graphics Council conference in Chicago (March 25-29, 2009), Graphic Chemical & Ink is planning on hosting an Open House at World Headquarters on March 29th from 10:00 a.m. until 3:00 p.m.

For those of you not familiar with our facilities, World Headquarters are located at 728 North Yale Avenue, Villa Park, IL 60181. Lest you get the wrong idea, we aren't exactly a 100,000 square foot building. We don't have multiple floors. In fact we could lie our way to about 11,000 square feet - roughly the size of the 8 Track Tape Department at Best Buy.

Not to cast aspersions on software manufacturers, but some commonly used software isn't too clear about our location. Yale avenue is 1 1/2 blocks long where we are located. You can only get to our building by turning off of eastbound North Avenue (Illinois Route 64), or by turning off of Ardmore Avenue onto Shiller , which dead ends at Yale. Should you have problems with directions, call us at 630-832-6004, and someone will talk you in.

Villa Park is actually pretty close to O'Hare Airport for those of you headed out that way. Public transportation is available on the Union Pacific West Line which takes about 40 minutes to get out from the Ogilvie Transportation Center (Madison and Canal) in Chicago to the Villa Park station. The Villa Park station is about a mile or less from Graphic.

We expect to have refreshments, possibly raffle prizes, and who knows what else we can think of between now and the 29th. Remember that you get a twofer when you come out here - you also get the new headquarters of Stones Crayons in the bargain.

We really look forward to seeing you out here on March 29th.

ARTIST IN RESIDENCY - LINCOLN, NE

2009-03-02T07:13:00.000-08:00

Artist-in-Residence Opportunities at Lux Center for the Arts, Lincoln, NE

Postmark Deadline: March 15

Residencies available in ceramics, printmaking, painting, and fibers. Residency is available for 3 months or up to 2 years scheduled to begin May 1, 2009 for most areas. An MFA is preferred but not necessary. Residency is granted based on quality of work and community-mindedness. Residents are provided with private or share studio spaces and most materials necessary to produce work. Year-long residents receive a solo show at the end of their residency and all residents receive representation in the Lux Center's sales gallery throughout their residency. Residents have 24 hour access to facilities. Residents are responsible for studio management and maintenance, approximately 10-12 hours per week. Residents are expected to assist with opening receptions and special events. No stipend is offered but residents with MFA have the opportunity to teach for Doane College at an average of $300 per month and all residents have opportunities to teach community classes for adults and youth for pay. Contact the Education Director at 402-466-8692 for more info or visit www.luxcenter.org.

Jenni Brant

Education Director

brant@luxcenter.org

Lux Center for the Arts

2601 N 48th Street

Lincoln, NE 68504

402-466-8692

www.luxcenter.org

The mission of Lux Center for the Arts is to enhance the lives of a diverse public through the visual arts by providing exceptional learning opportunities in contemporary art, craft, and design. These opportunities, honoring the legacy of arts educator Gladys M. Lux, include art classes, residence programs, gallery exhibitions, and community outreach.

12th NATIONAL SMALL WORKS SHOW

2009-02-25T13:20:00.000-08:00

I have posted the information below as a service to our friends at Washington Printmakers Gallery. Questions can be directed to Ellen Winkler

Calling all printmakers

Washington Printmakers Gallery announces its 12th National Small Works Show This year's juror is Jane Haslem - Director of Jane Haslem Gallery & a nationally known print dealer. First prize is a solo show at Washington Printmakers Gallery, located in Washington DC's renowned Dupont Circle gallery district. Deadline is May 25. A prospectus is attached* and also may be downloaded at www.washingtonprintmakers.com.

* It's supposed to be attached, but I can't figure out how to do it! Dean

PRINTMAKING IN FLORENCE

2009-02-16T13:36:00.001-08:00

I have posted this as is for any of you who would be interested in a good reason to go to Florence...like there's a bad reason to go.

Summer Class in Florence, Italy
Syracuse University

Experimental Printmaking and the Artist's Book
(PRT 300/500, 3 credits, undergraduate or graduate)
May 28 – July 11, 2009
Prof. Holly Greenberg

This is a hands-on studio for art students interested in exploring new ways of image-making through experimental methods of printmaking and the artist's book. Demonstrations include: monotype, collagraph, photo-collagraph, Pronto plates, gum printing, chine colle, eastern and western bookbinding, and marbleizing paper. Studio work is complemented with field trips to the Uffizi Gallery and area artisans working in book arts, printmaking, and fine art papers.

http://suabroad.syr.edu/programs/summer/view/391
DEADLINE: MARCH 1

Dusty Herbig
Assistant Professor of Art-Printmaking
Syracuse University
School of Visual & Performing Art
Comstock Art Building
Syracuse, NY 13210

315.559.3206

PAPERWORLD RECAP

2009-02-08T16:32:00.000-08:00

Susan and I just returned from what I believe was a fairly

successful trip to the Paperworld Trade Show in Frankfurt, Germany. This show is about a lot more than paper, and it's huge! The best part of the show, other than renewing acquaintances with many of our friends and customers, is the variety of new products we've planned to add to our inventory - soon.

For the paper connoisseur, we've seen some amazing papers that will soon grace our shelves - and your studios. Our freinds Nancy and Peter from the Japanese Paper Place have introduced us toMr. Moriki of the world famous Moriki Paper Company. The pride that he shows in his product is remarkable, and rightly so. Moriki has been making fine relief papers for generations. We have ordered some remarkable sheets that hopefully we'll have to show at the upcoming Southern Graphics Conference in Chicago (mark your calendars - it's just around the corner).

Some of these new papers are limited availability, but they are well worth the effort.

We also visited with Barbara from Lascaux Colors in Switzerland. After a lengthy and very productive meeting, we're adding a couple of color ranges to our already large inventory of these products. In addition to the Sirius Acrylic, Sirius Watercolors, and Gouache lines already on our shelves, we're adding the Studio Acrylics and the Resonance Gouaches. These products are great for painting, monoprintinhg and screen printing.The Resonance line is also ideally suited for art therapy applications. Lascaux refers to this range as "a colour filled with lifew impulses.These colors support and encourage the soul's expressive potential and have a harmonic effect on both the individual and his or her environment."

These unique colors with 28 hues can be used in all applications in which color should be realized as a sensuous quality beyound its visual presence. Look for these also at SGC. We'll be offering a special on the 85 ml Studio Acrylic set buy three colors and get a fourth one free!

We weren't done yet, however. We stumbled across a new source for brayers, barens, carving tools and much more. This source from the U.K. has safety cutters, innovative hand guards,and bench hooks. These products are affordable - especially with the Dollar showing some signs of strength right now.

It wasn't all work, we were able to sleep on the plane - sort of. In the middle of all this, the great State of Illinois chose that exact moment to throw the Governor out of office! We couldn't get much in the way of news from the U.S. but they all know about Blagojevich (even if they couldn't pronounce his name!)

Finally, I've talked a lot about showcasing all of the new products at SGC, but the other thing that we fully expect to do is to host an Open House following the conference on Sunday, March 29 at Graphic Chemical & Ink Company.

Come on out and join us for a few minutes or a few hours between 10:00 am and 3:00 pm. We're located at 728 North Yale Avenue, in Villa Park. Just 17 miles west of downtown Chicago, convenient to major highways and public transportation, and if we get enough people willing to commit to the trip, we'll look into hiring a bus to make the trip easier for you.

EXECUTIVE DIRECTOR JOB SEARCH

2009-02-06T16:39:00.000-08:00

The following was received from Roxanne Sexauer, announcing an opening as described below:

Executive Director Job Search

Self Help Graphics is seeking to hire an executive director who will be responsible for the day-to-day management of operations and execution of long-term artistic vision to ensure the organization fulfills its mission. The ideal candidate will have sensitivity to, knowledge of and respect for the special needs of Chicano and Latino artists in Los Angeles and beyond. He/she will have experience working with diverse stakeholders including artists, volunteers, community members, funders, peer organizations and elected officials. The executive director will also have a proven track record in business management and fund development. The Executive Director reports directly to the SHG Board of Directors.

The executive director will supervise the activities of the master printmaker, printer's apprentice and the printmaking facility. Under the direction of the SHG Board of Directors, the executive director will develop job descriptions for and hire new staff members as needed.

POSITION REQUIREMENTS

Education:
· Bachelor's Degree
· Masters Degree or MFA preferred

Experience:
· Desired 10+ years of management experience with supervisory responsibility
· Finance, accounting and business management experience
· Fund development, grant making and/or management experience
· Experience in the arts, preferably visual arts
· Deep knowledge of Chicano and Latino art history
· Significant experience in the non-profit or public sector
· Command of Chicano and/or Latino history, culture and current issues
· Strong communication and interpersonal skills
· Experience with accounting software a plus
· Proficiency using Microsoft Word and Excel

Compensation: Salary commensurate with experience plus benefits

APPLICATION
All applicants should submit a cover letter, resume and salary requirements to the attention of Rose Ramirez atrose.ramirez@selfhelpgraphics.com by February 28, 2009.

TRADE SHOWS 2009

2009-01-18T18:36:00.001-08:00

I like to think that I'm smarter than the average bear, of course
there are those who would argue the point, and after reading this you'll probably agree. I believe fervently in backing up computers, at least when it comes to Graphic Chemical. We actually subscribe to a service that backs up something like every six minutes!

I'm not quite as good about backing up my personal computer, which also serves as my PC workstation at Graphic. Why should I back up? Nothing could happen, right? Well, it did, and apparently it was catastrophic. Everything on my hard drive ceased to exist right around the Holidays. Mostly, I lost most of, but not all of my pictures. I also lost most of the forms used for export shipments, but they can be replaced. I believe that I've learned my lesson this time.

So, what's this got to do with the title, " TRADE SHOWS 2009"? Pretty much nothing, but I felt like venting. There are a number of important trade shows coming up this year, that I feel compelled to make note of.

January-February 2009- The Paperworld Show in Frankfurt, Germany. This is a huge show, open to dealers, manufacturers etc. in a variety of industries. The art materials part is in all likelihood the largest art materials show in the World. We're going this year to touch base with some of our distributors and several suppliers, plus if we're lucky we'll find a few new ones in each category.

March 2009 - Southern Graphics Conference in Chicago. This is the most impportant show in the printmaking world, and it'sin our backyard this year. We've been working hard to get the show organized and for us to be ready for our best show yet.

May 2009 - National Art Materials Traade Association - Louisville, KY. This is an annual show for dealers of art materials. It's a fair sized show that will influence what your local art supply store will end up stocking in the next year.

September 2008 - Impact VI in Bristol, England. This show runs every other year in odd-numbered years (Mid America Print Council runs in the even numbered years). While this is a smaller show for exhibitors, the turn out of printmakers - especially those from the US and Europe is pretty impressive.

Finally, the pictures at the top - we've already established that I'm limited in the number of pictures I have available, but these are two "new" products. Actually they are acid dropping bottles, an item discontinued several years ago. We have found a source and have added them to the website. Hope you enjoy them.

FREE SHIPPING, OR PLAYING THE PERCENTAGES

2008-12-10T07:01:00.000-08:00

I have recently joined a printmakers group called INKTERACTION (http://inkteraction.ning.com/) that is quite amazing to me. at last count almost 2000 printmakers were members, exchanging ideas, imagery and for all I know cookie recipes.

I did come across in a period of 24 hours a disturbing aspect to the world of printmaking supply. Graphic Chemical & Ink has always been straightforward with our customers when it comes to terms and pricing. The old line has always been that we don't offer free shipping because we can't find the truck line that will ship for free,

In an exchange with a relief artist, I mentioned that we have an alternative product that might be of interest to her - the Vinyl Relief Plates from Japan. She was quite interested because the cost of unmounted linoleum from her supplier was very expensive. In her response, however, she mentioned that she used that source because they were somewhat local and they offered free shipping!

At that point the antenna went up, and I began researching the issue. In the same vein as the old saying that "there ain't no such thing as a free lunch" there is equally no such thing as free shipping. Oh sure, somebody could cut a deal to win a bid or something, but in case you haven't noticed shipping charges from all carriers have been going through the roof lately, and they weren't that great to start with!

In this young lady's case, her "free shipping" cost her approximately $80, on a shipment of 50 feet of 36" wide lino. Her source charges $21.25 per running foot of 36" wide material, while Graphic charges $16.50 per running foot of the same lino. So, her neighborhood supplier charges $237.50 more for the same material - but the shipping is free. Shipping charges from Villa Park to that location would be about $150 or so.

Then, because I was wound up about how people look at pricing, I was checking out a website for one of our distributors. I noticed that this dealer sells our 514C Bone Black for a reasonable price - good for them. Unfortunately, they felt compelled to mislead the customer about the savings involved. Their site shows the list price at $ 24.99 for the one pound can of Bone Black. I have to assume that it's their list price because ours is $12,50!

There is an entire industry out there that preys on the fact that page placement is everything. If your website isn't in the first 3-4 in a category, your chances of someone stumbling onto your site is almost nil. The problem is that it all costs money - and where do you suppose the money comes from - from you. Small manufacturers cannot compete well in that kind of market. I hope it doesn't sound like whining. It's just a fact of life. but consider who the companies are that actually make the materials that you buy. Most of them are small - even smaller than Graphic Chemical if that's possible. Many are struggling with the economic situation and several have closed their door within the past few years. I urge you to give some consideration to supporting the little guys, while they're still around.

WEDDING BELL BLUES

2008-11-28T14:38:00.000-08:00

So, after almost a year of planning, the first ever wedding of two Graphic Chemical employees has happened. Oh, it's not the first time that two GC employees were married (e.g Susan and me, my parents, Sarah and Pete, the Snyders and a few others), but the first time that two employees got married.

Liz and Josh managed, despite a few obstacles, to tie the knot on November 8th. It was a glorious affair marred only by the inconsiderate boor who not only left his cell phone on in Church, but actually had a call during the service! He had a very distinctive ring tone, so the assignment of blame was immediate and conclusive. The ring tone was a tune called Suicide is Painless which as many of you know as the theme song to M*A*S*H.

What makes the story even better, the father of the bride (that would be me for those of you operating without a genealogy chart) is addicted to M*A*S*H - possibly being the world's foremost expert thereof - and actually has the theme song as his ring tone!

That's right, my blasted phone rang twice during the service because I couldn't get it turned off quickly enough! It actually rang six more times before we left Church, but at least by then I had it on vibrate. Afterwards, a friend asked me who had called since everyone I knew was at the wedding. It turns out that I have made some unsavory acquaintances in my years of quasi-politics. The most unsavory would not be the obvious politicians currently in jail, or headed there, but rather the reporters who helped put them there. It was, in fact a reporter, who was actually just looking for someone else to confirm a story! She did, by the way, get the story wrong anyway.

During the father-of-the-bride speech later in the afternoon, no fewer than three of my friends tried calling me. My story (and I'm sticking with it) is that the phone was on as a courtesy to President-elect Obama. If he called offering me a post like Secretary of Education or Defense, I didn't want him to have to deal with voice mail.

In about five years or so, I expect that Susan will begin to see the humor of the situation ...maybe.

THE LAST WORD - for now

2008-10-20T09:33:00.000-07:00

I have received the following letter from Suellen Bock, President of Rembrandt Graphic Arts. While I appreciate the sentiment and kind words about Graphic Chemical & Ink, I am truly sorry that Rembrandt came to this end.

Dear Friends and Customers of Rembrandt Graphic Arts,

After 61 years of service to the graphic arts community Rembrandt Graphic Arts has closed its doors. We are truly proud to have been of service and deeply grateful for your support.

We would like your to draw your attention to and recommend Graphic Chemical and Ink Company www.graphicchemical.com who have be serving the graphic arts community reliably and courteously for the past 88 years. They have a superb knowledge base, reputation for the quality, variety and comprehensiveness of their inks, papers, tools, chemicals and equipment.

We wish everyone well and happy printmaking for many years to come.

Once again, many thanks for your support.
Yours truly,

Suellen Bock

LAPS 20th NATIONAL EXHIBITION

2008-10-20T07:26:00.000-07:00

We received the following notice from the Los Angeles Printmaking Society, and have chosen to pass this along as a service to printmakers in the US and Canada

CALL FOR ENTRIES
LOS ANGELES PRINTMAKING SOCIETY 20th NATIONAL EXHIBITION

Entry deadline: February 1, 2009

Open to: USA and Canadian printmakers

Location: Los Angeles Municipal Art Gallery

Dates: October 30 to December 29, 2009

Opening reception: November 1, 2009, 2-5 PM

Media: Original works in all Printmaking media
including monotypes, monoprints and
3-dimensional work. LAPS will not
consider traditional photography, offset
reproductions or reproductions of art
originally produced in another medium.

Juror: Peter Frank, Senior Curator at the Riverside
Art Museum and critic for Angelino
magazine and LA Weekly, Associate Editor at
THE magazine LA.

Fees: $30 non-refundable for three entries and $35 for
five entries in US currency (members in good
standing: $25 and $30).

Awards: The 19th National yielded over $4,000 in cash and
purchase awards. $3.000 minimum is
guaranteed.

Catalog: Will be distributed to each participating artist.
Additional copies will be available in the
gallery.

For prospectus: SAS legal sized envelope to:
LAPS 20th National Exhibition c/o Cathy Weiss
1947 Weepah Way,
L.A., CA 90046
(213) 891- 4468
email: LAPS20thNational@gmail.com
Or visit the LAPS website,

www.LAPrintmakers.com

MAPC - FARGO, ND

2008-09-28T12:56:00.000-07:00

I don't want to give short shrift to the Mid-America Print Council's (MAPC) show coming up this week, but with the back-to-school rush, it's sometimes hard to remember what day it is, let alone when the next show is coming up. For the record, the dates are October 1-4, 2008.

As always, Graphic Chemical will be represented there, but this time we're only going to be there for the first two days (Thursday and Friday, October 2nd & 3rd). Due to previous, wedding-related commitments, the half day on Saturday will have to get along without us.

I'm looking forward to the show for a variety of reasons. First and foremost, we have a chance to network with many of our customers that we don't get to see all that often. We have a number of newer items that we will highlight at the Product Fair, and finally I have never been to North Dakota before. So, why is that a big deal? Well, when I land at the Fargo airport, I will have landed in my fiftieth state. It's been a goal I've had since I first set foot outside of Illinois.

In fairness, I should revise that statement so as not to get caught in a lie! It's been my revised goal for 49 years (ever since we first had 50 states. Some states haven't gotten the full treatment - Alaska, for example, has been visited twice for a total of 2 hours and Maine once for about a half hour. I'm going to get back to both soon because there are way too many customers that I haven't visited with in places like that.

Anyway, look out North Dakota, because I'm on my way - see you Wednesday evening.

COLLOTYPE INKS - The Mystery Revealed

2008-08-29T07:33:00.000-07:00

I have prevailed upon my friend Michael Craine, managing director of the company that makes, among other products, the Caligo Safe Wash inks, to enlighten printmakers about the Collotype process. I appreciate his efforts to help all of us understand the medium a little better.

Never one to miss an opportunity, I have added Caligo's Collotype Inks to the selection offered by Graphic Chemical & Ink. We have a small but loyal following of collotype artists using our Senefelder's Crayon Black Litho Ink, but now the possibilities are significantly expanded. Enjoy....

The one thing I can’t claim for collotype printing is that it is easy, cheap or ready to become the next big thing in printmaking! If truth be told, it’s laboriously slow, extremely complex, technically demanding, specialized and expensive… but it can produce the most staggeringly beautiful, fine and accurate prints imaginable.

The underlying theory is similar to the same mad idea behind lithography: Oil and water don’t mix! With collotype, the science is pushed to a higher plane. Rather than having areas on the printing plate that are simply ‘Yes’ or ‘No’ in that they either print or don’t print, collotype has found a way of printing the in-betweens! Ink does not simply print or not print, it is applied to the paper in varying film thickness, to give a genuine continuous tone. Historically the process has understandably been interwoven with photography and is normally used with this kind of original.

The way it works in practice is like this: A glass plate is coated with sensitized gelatin solution which is ‘oven cooked’ to leave a wrinkled or ‘reticulated’ surface. The plate is then exposed under a reversed photographic negative. Light passes through the negative to harden the gelatin on the glass plate. However the areas of gelatin that are unexposed, remain soft and will later absorb water when washed. It is the hardened exposed areas that will repel the water and remain dry and become the ‘image areas’.

The differing hardness of the gelatin controls the water absorbency of the various tones across the plate. The washed glass plate can then be ‘inked’ with an oil based ink that will adhere in varying film weight commensurate with how soggy the gelatin is underfoot… so to speak.

Having gone through this amount of stress simply to get ink onto the plate, the printer then needs to take care on whatever press is available, providing sufficient pressure to ‘bottom the paper’ without breaking the glass!

The current state of collotype is that it is loved, admired and cherished, but rarely undertaken by individual printmakers. Often the preserve of universities or historic organizations with access to the required plant; collotype printers are a mutually supportive bunch. A recent collotype conference at the University of the West of England in Bristol gave encouragement by bringing together both active and interested printers from the USA, the UK, Germany, Italy, the Netherlands and Scandinavia.

Where no alternative inks are available, lithographic inks act as a first reserve, however they are commonly too weak and too soft. A genuine collotype ink has greatly increased pigment content and as a consequence is of far higher viscosity. It is our understanding that a sizeable proportion of Caligo Collotype Inks may not in fact be used by collotype printers, but by lithographers and other printmakers who simply want to experiment or use a very viscous ink!

Collotype is a temperamental process requiring great patience and skill. Results appear to differ dependent on temperature, humidity, the number of Thursdays in the month and the price of fish in Lapland.

Even a collotype enthusiast admitted that ‘it is hard work considering sometimes you get a print and maybe sometimes you don’t’!

SIGN OF THE TIMES

2008-08-02T06:27:00.000-07:00

I've done a few posts on people you should know in the printmaking community over the past couple of years. One of these pieces that I had intended to write was about Brice and Suellen Bock, the brother and sister act that ran Rembrandt Graphic Arts.

Over the past several years, Rembrandt has struggled with issues that affect all of us, and some that were unique to their operation. In June of this year, we began to suspect that things were going south more quickly than we suspected for RGA. On Thursday, I received confirmation that after 61 years of providing for the printmaking needs of a very loyal customer base, Rembrandt Graphic Arts had closed their doors for good.

Like many others in this industry, I consider Brice and Suellen as friends. We have worked with them for well over 30 years, and tried to help where we could. Sure, we were competitors on one level, but the one thing I really like about this industry is the way that even competitors get along well.

I first met Brice in 1975 in Philadelphia at the NAEA convention. The exhibit area was an unused parking garage, and wasn't anywhere near as nice as you'd expect. Up to this point, each company would find a way to get a catalog from their competitors to keep up with products and pricing. I walked into their booth, introduced myself and announced that my Aunt May wanted to free herself from annually asking for Rembrandt's catalog to be sent to her Francisville, IN home. I was sure that whomever Rembrandt's "Aunt May" was, they probably wanted out of the arrangement too.

I handed Brice my catalog and asked if they'd sent me theirs. Within a few months, I managed to convince them that Graphic's products would be a great addition to their catalog, and the rest, as they say, was history.

I visited Rembrandt, along with my wife Susan, about 5 years ago. We spent a pleasant day with Brice and Suellen, including lunch a some little historic inn over on the Pennsylvania side of the river (the Delaware, if I'm any judge of rivers). Their offices were in a unique building - physically larger than Graphic Chemical by about 1000 square feet. The building was very long and fairly narrow. In fact it was so long that they kept a bicycle at the front of the warehouse so they could ride to the back of the building when necessary! It turns out the in another life the building had served as a chicken coop on what I assume was a commercial farm.

We're now working with some of Rembrandt's customers to help insure that their source of supply will be uninterrupted. I can't guarantee that we'll be able to fill every gap, but I've had discussions with them to help continue their legacy. We will work with any of you that have unique products from Rembrandt - just let me know what it is, and we'll find the source.

RELIEF PAPER HEADQUARTERS

2008-07-07T13:48:00.000-07:00

Some time ago, I wrote, with regret, about the demise of Aiko's Paper in Chicago. Well, it has come to pass that they have shut their doors, and it is a loss to the paper purchasing world. The folks at Aiko's were very generous in helping Graphic Chemical to fill the void left by their closing. They shared with us a tremendous amount of information regarding papers that were popular with their customers, who their suppliers were, and much more.

Last month a contingent from Graphic traveled to an oriental paper summit. No it wasn't in Japan - if it had been I'd have found a way to attend. This one was held in Toronto, and our crew told me they found it not only interesting but highly invigorating. They are really psyched up to make us a major player in papers for relief printing techniques.

To that end, I did a quick count on how many papers have been added to our supply list in the past 2-3 months, and I was staggered to see that the number was 110 new papers. The interesting part of this is that they aren't done yet by a long shot.

Packaging papers is an art form in and of itself, and thin papers such as most of these is significantly more difficult. Our paper specialist, Pete, was really impressed with the training that he received relative to handling and packaging.

I've asked the boss - Susan - to do a guest piece here with more information about the specific papers, characteristics and strengths. She, as I expected gave me that look. You know the one that means, yeah, right! Eventually I'll get her to at least give me the information, but in the meantime, look at our web site for information, or call us, we're happy to talk to you about these new products.

SGC CHICAGO

2008-06-25T10:03:00.000-07:00

We aren't too far away - hard as that is to believe - from the Southern Graphics Council conference in Chicago. The show ndates are March 25-29, 2009. The theme of the conference is Global Connections, and the committee is hard at work to put on one of the best conferences that SGC has ever had.

First of all, we're in Chicago, one of the great cities in the World (of course I'm biased). For the record - no cowboys and Indians, no Al Capone, and very few buffalo roaming the plains of the city, although we did have a cougar last Spring. Chicago is world class in every sense of the phrase - world class art & music, world class museums and galleries, world class architecture and world class sports...well that's a little bit of a stretch particularly with Winter sports.

Secondly, we're hosted by Columbia College a great school noted for its arts programs. Columbia is the home of Anchor Graphics, Columbia Book & Paper and some of the finest technology programs anywhere.

And finally, Chicago is just a scant 17 miles from the world headquarters of Graphic Chemical & Ink Company! If there is sufficient interest, we may try to organize a tour of our facilities for a group of attendees. You can always arrange for a private tour while you are in town, but we're hoping to jazz it up a little bit with a bus from the city, snacks and soft drinks etc. We have already begun the cleaning process so that when March rolls around we'll be ready for the onslaught.

CHICAGO AREA ART EXPO

2008-06-04T08:40:00.000-07:00

Come and visit Graphic Chemical & Ink Company in Lisle, IL for the Learning & Product Expo 2008, July 11-13th. For those of you from out of the area, Lisle is about 25 miles west of downtown Chicago.

We'll be at the Hickory Ridge Mariott along with many other art supply vendors.

Classes and demonstrations are being presented in a variety of areas including printmaking, oils, wayter colors, ceramics and many more. Go to the show website - www.learningproductexpo.com/chi - for a show preview and registration information. While pre-registration isn't required, the earlier you sign up the better chance you have to get into the classes or demos you want.

Our good friend Teresa Parker is teaching a class on linoleum block printing on Friday, a Collage/Monotype class on Saturday, and classes on both techniques on Sunday. She will be highlighting the Caligo Safe Wash Relief Inks that are handled by Graphic Chemical. These inks, as many of you know, are oil based inks with all of the positive qualities of that medium, with the added bonus of cleaning up with soap and water!

Caligo Inks along with a wide selection of our product line will be available in Graphic's booth at the show. Hope we'll see you there.

AIN'T IT THE TRUTH

2008-05-28T18:21:00.000-07:00

There is a great controversy today regarding the No Child Left Behind act. The act was due for reauthorization in 2007, but given the political climate, it could be several years before reauthorization occurs, if it ever does.

What that means is not that the law goes away, but rather it continues in its present form until 2014. The present form is probably more of a problem than many people think because, in my opinion, it takes a great idea, and lets the government deternmine how it is implemented.

A couple of years ago, a good friend from college that now teaches in Tennessee sent me a great e-mail called "NCLB football" explaining how the concept of No Child Left Behind would affect the game of football. For example, all kids would play football, but coaches would only work with the kids who weren't as skilled as their teammates. Football would be played year-round, but scores would only be kept in 3rd, 5th, 8th and 11th grades.

The end of this e-mail was a somewhat somber statement that I have stolen repeatedly for speaking engagements. It is," Remember that if no child is left behind, it's because no child is getting ahead."

Now, a colleague of mine has forwarded a new, far more timely e-mail regarding the subject. Tom Chapin, a well known recording artist has come up with a presentation on the fate of the arts under NCLB.

Please click on the following link to access the performance of Not On the Test. http://www.notonthetest.com/index.html

SCHOOL GOVERNANCE

2008-05-14T07:22:00.000-07:00

The following was blatantly stolen from my good friend Brenda Welburn, the executive director of NASBE, the National Association of State Bords of Education. It has nothing to do with printmaking specifically, but the topic affects the quality of our education system nationwide.

Horace Mann, the father of public education in America, chaired the first State Board of Education in the United States in Massachusetts. He believed the “common school” would be the true equalizer for all Americans and used his service on the State Board of Education to focus the attention of state leaders on the intrinsic value of public schools. In 1839 he presided over the establishment of the nation’s first public school in Lexington, Massachusetts. During his tenure, fifty high schools were established across the state; not because he had the power of the governor or the budgeting authority of the legislature, but because he had a passion for educating all students.

I wonder what Mr. Mann would think today about the legislation that is making its way through the Vermont assembly to abolish the State Boards of Education, or for that matter the countless efforts by several governors to eliminate or diminish the public’s participation in public education governance. There are proposals in at least 10 states to reduce the authority of Boards, if not to eliminate them all together. The arguments are as inevitable as the proposals; “accountability should be in the hands of the governor”; “business leaders are dissatisfied with the slow progress of education reform”; “the majority of the Board was appointed by someone from another party, someone who doesn’t share the political views of the current governor.”Interesting how this line of reasoning focuses on power, influence and authority, not on the zeal embraced by Horace Mann for determining first what is good for all students, and then how providing a quality education of those students would benefit the country. We are inundated by state leaders with the challenges of global competitiveness and the importance of rigor, less frequently do we hear about academic relevancy or why students are disengaged.

The model of independent lay boards was developed to insulate education to the extent possible from politics. It had merit in 1837 when Horace Mann became the first State Board Chairman and it has merit today. The variety of views and perspectives from across a state informing the policymaking process benefits every child in the state. Four years before the Wallace Foundation identified school leadership and the role of the principal as a cornerstone for educational reform, State Board Members identified this as a critical issue and requested a NASBE Study Group on the topic. Before Governor Warner successfully led the National Governors’ Association’s initiative on high schools, State Board Members participated on a NASBE Study Group on the crisis state of the American high school.

As institutions State Boards are not perfect, as individuals State Board Members have flaws, but the same can be said for governors and legislatures and the solution is not to abolish them to improve the quality of governance at the state level. Governors and legislators should concentrate on how to strengthen and improve State Boards of Education, not eliminate them. Least we forget, it was a State Board Member who had the vision for public schools for all.

Brenda Lilienthal Welburn
Executive Director