It’s been a weird year, and a facet of the weirdness has been very little work independently released here on AP. I have been busy but with all sorts of weird stuff that in hindsight is mostly just distractions. Often necessary or good but distractions nonetheless.
It is important to know why you do things, reasons, I mean for the most part antiquated press is all about creating work that lacks the obvious reason and purpose which comes along with projects and jobs and the like. It is about compulsions and hands-never-being-idle, and working in the medium of intaglio printmaking methodically and consistently till always. But then reasons happen. less intrinsic fun projects and endeavors. Not sure what i am saying, except that 2017 was weird. It did bring a lovely show for Antiquated Press, and the massive undertaking of “Whale” and a number of AP things that won’t fully be realized till next year and years to come.
2018 will be more productive, of that I am certain.
I do have a new print, just posted it. And It is also part of a wonderful gallery show 100X100 (all about affordable accessible independently created contemporary art) at the IGCA
. It is “Moon” a 14X14 etching. All done in aquatint. It is an edition of 60 and sales go to support the International Gallery of Contemporary Art. The very same gallery that hosted my show. It is a gallery I have grown quite fond of over the years.
For this print i chopped up the copper into 60 equal pieces, I numbered each and with every print buyers get a piece of the copper. Pretty cool interactive edition thing..
anyhow here are some photos of the process and the final etching.
The whole of the etching was done in aquatint using step biting. I liked working in the negative, but i absolutely missed making lines. I am most comfortable making marks.
I got a nice deep velvety aquatint. Very pleased with my blacks
The plate all freshly etched and clean from removing all the layers of stop out
Inked up very toothy
After proofing and then pulling the full edition. I etched the back of the plate with the edition numbers
I chopped the plate up, and rounded the edges and drilled a hole (so it can hang on a nail)
Since this will be in a show and has the added facet of the copper pieces i built a cabinet/frame. I have been working on a number of wood projects lately so it was fun and familiar. I used some scrap mahogany (beautiful stuff to work with)
sixty prints, sixty tags, sixty nails, glad I didn’t do 100 :)
cabinet all hung in the gallery
Pretty pleased with the interactive nature of this as a gallery piece.
I had the opportunity to exhibit a collection of my etchings at the International Gallery of Contemporary Art in Anchorage Alaska. This was my first opportunity to exhibit close to home and really visually celebrate the medium.
I took some photos of the exhibition.
In concert with the show I also produced my largest etching yet “Whale”.
the final edition measures 25.5″ by 53″ and was a bear to etch, ink and pull on my press. I will be releasing it next week. Also I always set aside some editions for use in an exhibition. And so i will be listing several previously sold out prints in the editions page.
Thanks to IGCA and everyone who came to the show. It was really pretty great.
Hello, so i just posted info about the pre sale for the all new edition from antiquated press. It is a pretty neat print that was so fun to work on. Technically it is my most ambitious project. Multiple hard grounds, aquatints, spit bites. You name it - I threw it at this guy. It is also about 100 square inches larger than my last biggest copper. SO yeah, its got this outrageous content.. crazy process and its huge. I even got a video of me pulling one of the regular editors
When I finally get through all the work in putting together an edition, series, release etc. It is quite the experience releasing it. It starts out with being a huge pain in the ass. I love etching and making these prints, I love the process and the medium and materials. But ugh, the websites and the photos and the “doing everything correctly” is really tough because I tend to be a fuck up.
I grew up reading Richard and Wendy Pini Elfquest books. They had a major impact on me. I was a big fan of Skywise and all things woflriders. Add to that watchign the littles on saturday mornings and basically, if you’re a tiny magical creature.. you are gonna have an awesome steed. It just makes sense.
This is a six etching series. Fox, Hare, Snail, Moth, Sea Chariot and Owl. They are all 6″X9″ copper plates printed on 10″X13″ arches. THey are limited to 40 and well I really ended up pleased with the lot of them. It was fun to work on these smaller plates (especially after the beast that was Regatta). Here are some photos:
Hare: Just a basic hard ground, no aquatint or anything like that. Hare isnt the most exciting of the riders but it might be my favorite.
Sea Chariot: I utilized both hard ground and aquatinit in this etching. I actually drew this as just a drawing years ago, it became a t shirt as well at one of the big shirt places. But I have wanted to revisit it in copper for quite some time. I am far more pleased with this etching than the original drawing.
Snail: This one is also just a basic hard ground. Lots of step biting though. It has a pretty great texture to in due to some pretty deep etched lines.
Owl: Hard ground and aquatint. It was probably the one that gave me the most grief in the process. But still super fun etching to work on
Moth: Hardground, Basically drew itself, I loved working on the thistle, and the little rider is smaller than a nickle so i was working with a loupe and a tiny needle.
Fox: Technically, I am most pleased with this one.Mainly because I have struggled with step biting in aquatint (I am still trying to make acrylic aquatint usable) But It actually worked with this one. So all i see is aquatint step biting win haha
And there’s all the final proofs (with margins cut off) taped to my wall next to my workarea.
Since these etchings are smaller than my normal work, it presented an opportunity to SHIP FLAT (yay, loud noises) Tubes are not so bad, but my mailman gives me grief. And they are kinda tough to do something fun with. After the violently satisfying custom work I did on the astronaut santa christmas cards. I wasn’t gonna miss the opportunity to something cool with the packaging on this series. And because of our Melancholy Press project we are fully equipped on the letterpress side. I ordered some plates with some riders logos. Ordered some polybags and found some REALLY NICE black tyvek envelopes. Water proof, tear proof etc. yay right? well not so much, the paper company basically considers Alaska to be on the moon. When I say my envelopes went from truck to plane, to a freaking BOAT out in the pacific ocean.. I am serious. It took a gruelingly long time to get the envelopes. And I really wasn’t going to be okay with just normal envelopes… I wanted to print them up with silver metallic ink.. it had to be black :(
All the packages also have double thick corrugated cardboard on tops and bottoms to protect the etchings, and each print is polybagged with a cool chipboard backer. I am pleased. I hope it is a nice thing to get in the mail.
SO yeah. I set aside 15 of the 40 editions for matching numbered sets. And gave a break on the price if you get the whole set. But those sold out in the presale, so I added 7 more. This doesn’t really effect anything, but I mention it because if you order just a single print, they will be in the edition numbers of 23-40. I think even if the sets all sell out again, I will leave up the set option and just try to find matching numbers as I go. Until theres only singles left.
Like I mentioned earlier, I had some pieces in the Mondo House Party SXSW show that happened last week. It was an amazing show with incredible talent. And I do have a pretty neat Etching I did for Monty Python, Based on the Crimson Permanent Assurance skit. That show will take place in Leeds UK - but is rescheduled to probably sometime in May. I will probably send out another awkward newsletter with lots of mistakes. Haha
Oh, speaking of neat things!! so for those out there who have a Fireflies.. or clockworks etchings. The television show Hawaii FIve O purchased a bunch of my prints to decorate the office of
Jerry Ortega’s (Jorge Garcia)… (HURLEY!!) bunker office. Since Jorge is a regular on the show, his office shows up quite a bit and it is oddly surreal seeing Fireflies making regular appearances.
And Lastly, I wanna show off this amazing framing job on a Regatta. This comes from my dear friend (and phenominal artist, author) Terry Fan.
Pretty nice with the black matting huh? Terry has good taste.
Thanks for hanging with me, if you read all of this. I have some fucking rad stuff in the works. Really. There will probably be two more releases in 2016, and they are gonna be ambitious. I hope to do better with posting things, but really i prefer to be in the studio scratching on copper. I have been trying to use instagram more. I posted progress shots on riders there.. look me up if you do the whole IG thing @isaboja
so 2015 is winding down and I have been working on these plates for most of it. Actually I think I started Airship in 2014… But Regatta is the real beast. Largest most difficult etching to date. the plate itself is three feet wide and the final editions measure 40″ X17″ just dealing with that sized paper (at 270 gsm Arches) is a challenge. The editions for both are low at 30. and as usual they are in the AP editions page http://www.antiquatedpress.com/Editions/
For a while now I have been working with the amazing Terry Fan to make these collaborative editions. Leviathan is an edition of 60 and very fine hat is an edition of 30. Terry is a good friend and incomparable talent and I am so happy these are finally available on the AP website. http://www.antiquatedpress.com/Editions/index.php
I feel pretty damn inconsistent when it comes to posting stuff. It would be awesome to say it’s due to being so productive in the AP studio. But unfortunately I cannot use that excuse. I jus been tugged in a lot of directions the last handful of months. Not to say I haven’t done some neat stuff. Like the debut album cover for Kodiak Deathbeds. A wonderful album with the combined talents of Derek Fudesco (Cave Singers) and Amber Webber (Black Mountain) It is a spooky good album. Working with Derek and Amber was excellent, just wonderful artists who restore my faith when it comes to collaborating on the vision side.
At the beginning we decided to do a limited edition of hand made intaglio album covers. SO i approached the project with a 1:1 scale. Which was pretty great. I am a big fan of music and vinyl. Part of my appreciation of analog processes and the brilliant tactile rituals that come along with vinyl LPs.
It is a copper etching on Arches cover, the ink is a graphic chemical renaissance black (my favorite ink)
all the song titles and the album title were etched..
looks pretty swell as an album cover
Each of the limited edition (50) was hand pulled, cut and glued in the AP studio.
Even letterpressed these handbill inserts. ohhh gold metallic ink on arches cover stock..
I really didn’t intend to release these prints along with the thanksgiving holiday. It just happened this way…
But hey! two new prints - and the first in my Folklore series.. YAY! (loud noises)
You can see them and more details on the EDITIONS page. But the gist is that Treehouse is a pretty large print (22X29 inches) .. well it is large to me and I have been pecking away at it since June. I only editioned these to 35. That’s it. Cause they are kinda a pain to print and i wanted to keep it a really small personal series.
The inspiration behind treehouse comes from my own personal love and fascination with tree houses. When you are in a treehouse, there is this magical feeling.. it is quite unlike anything else. Being up in the trees with a slight breeze. The leaves whispering, the calm sway of the trees. It is one of a kind, and without fail it brings simple inexplicable joy. I remember building my treehouse with my dad when I was a child, and then as an adult I built a treehouse with my kids. The memories and feelings of wonder were just as familiar playing in the trees with my kids as when I was a little guy. The magic of being in the trees is only a climb up a ladder away. I have considered these houses in the leaves. And how attractive it must be for the forest sprites. A place for the spirits, the kodama to enjoy. I imagine the countless abandoned tree houses in the woods. Or the ones that are all quiet at night being irresistible for them to occupy and more than likely part of the magic one feels in a treehouse has to do with these guys. It is a little place where the tinkerings of man and the natural way of the woods come together. So I made this edition, and its little companion. To celebrate the magic and wonder. I went with an antiqued white arches paper that compliments the woodland mood of the editions.
Kodama is this little companion print (it’s only 11 X 11 inches) that I made for Treehouse. And anyone who orders a Treehouse edition gets a little matching edition number kodama with it. (I also printed up 15 extra for those who only want the little print)
These are super fun editions that will feel at home in a kids room as well as the most sophisticated living area (maybe not the MOST sophisticated)
Thank you all for supporting AP, that is what I am thankful for. The awesome folks out there who keep me making these crazy copper etchings.. you all are the best.
Last item on my list of spring cleaning is sorting through my flat file. In the process I found some gems to give away on the Antiquated Press Facebook page. like comment or whatever to be entered. I will be drawing winners next week or so.
my use of cooper black proves this is awesome
here is a test print from 08 for “harder they fall” from full metal tee. it is signed and a pretty swell print.
here is one of AP’s first prints, “Migrating Bureaus” from 2009. A screenprint and one of very few out there.
“workshop” another screenprint from ‘09
made for the ap homepage. only a few of these made for complete clockworks edition sets. yeah, the website started in copper.
this is a test print from society 6 - 2010 i think. Ordered several of these to see the quality. “Icarus” i went ahead and signed it as well.
It is so rare that I give away (never sell) original ink work. This is an original pencil and ink drawing of thor i did for a potential licensed by marvel tshirt which never came to be.
this is one of only a couple proofs of the one lost plate in the clockworks series. it is a sad story.
the wolf II edition is not just plain “wolf” because of this print. it did not make the cut into CW 13 and only a few were sent out to pals.
the original concept sketch for “woods” edition in CW 13
original concept sketch for “balloon” edition in CW 13.
so yeah, you can comment here - or swing by the facebook page and shout out which one you’d like. i might be pulling some other sketches and stuff. thanks for supporting antiquated press
So, here it is February something or other. Been a bit since i posted anything. Basically last thing i posted was about getting all my new studio gear (PRESSSSS) and then proceeded to play catch up in a bunch of other real world important stuff. The studio had to take a back seat to a trip to Portland to get my boys ticker fixed. And then I have been promising my daughter an updated room for a couple months. THe last time I did up her room she was 7 and now that she is a teenager.. well the room was a bit dated, so I spent a month tearing out her tree and renovating her oddly shaped tiny tall room. While I was working in there Sally took up residence in my studio.
So I got my studio back, which I celebrated with a fine cigar.
Then promptly got to work on my sink. I know it seems kinda ridiculous to be so excited about a sink. But seriously… look at this sink.
There are few things that can halt production and drive a person MAD the way poor facilities can. And I have been working with a less than adequate sink. This majestic stainless steel beast was fabricated specifically for etching. It is unbelievable. I feel so spoiled. Like a big printmaking princess. My trays fit in the table perfect, it has a nice slope to drain in the sink. it fits against the wall in my studio like it was built for it. It is a dream sink. a dreamy sink.
SINK OF THE GODS
so yeah, I am excited about the sink. I will have it all installed this weekend. Also going to place my press and level the bed out and all that. Hopefully some organizing etc. Then I get back to working on plates. I am not sure if I will be posting progress shots on the upcoming work. Maybe just a few select plates in the series. To you know.. be in touch or some such.
Here it is the last day of 2013. I have been pretty quiet through the holidays. It was a crazy madhouse at the AP studio shipping Christmas orders. Then the holiday break was a nice respite. But I had a certain big thing “THING” as in event/stress/goal planned for the 27th of December. This was the day that will have a huge impact on Antiquated Press moving forward into 2014 and beyond.
2013 year end… what a year. I am glad it is over for many reasons. But when reflecting on Antiquated Press this year and where it was a year ago today, I cannot help but be a bit taken aback. When you are knee deep in the intricacies of the day to day week to week month to month, Personal deadlines, release dates, etc, well it is easy to lose sight of the big picture. A year ago I was just getting my studio all set up and dialed in.. I had only a couple of the clockworks plates being proofed and the whole clockworks series was just this almost unachievable hopeful vision. I had all sorts of ideas on how this phase of my work would be accomplished and received. I imagined crickets and boos, I imagined no one even noticing. It really didn’t matter. I wanted to do it. I wanted to work with my hands and start something lasting and substantial.
And now here a year later it actually exists. I have a stack of copper and drawers of editions and prints. And there are these whimsical robot prints hanging on walls all over the world. That is pretty damn rad. I am quite pleased with the evolution of AP this year.
Right, so how does 2013 end? What happened on the 27th? What is the result of Clockworks and all the efforts and the ultimate success of the series? Well AP has gotten a supercharged upgrade kit. Using the proceeds of the Clockworks series I have purchased new equipment… The main piece being a Beautiful (if not a bit intimidating) Praga Press (looks kinda like the death star). This new press will allow me to make prints BIGGER.. it will allow me to work on giant copper.. GIANT copper. The Field and Ibex prints pretty much maxed out my Griffin press. That was as big as I could go. Instead of being limited to a 16X22 sheet of paper.. I can now print 30X50… Which is no small upgrade. The Praga is a university class press and it is currently sitting in my studio - ready to go to work. (not to worry, my griffin will still be used and loved and taken care of.. now she just gets to sit next to this massive beast.)
Add to that mountains of paper and copper and this incredible stainless steel sink/table designed and fabricated specifically for etching and printmaking, new supplies and gear.. this list goes on and on. Thousands of pounds worth to take AP to the next level. It is HUGE. this retooling has my studio in a complete state of disarray.. which right now is just making me kinda a neurotic stressed out mess. But I will slowly get everything sorted and ready to rock. Rest assured many updates and photos will follow.
Speaking of which, what can be expected in 2014 from Antiquated Press? All these new toys.. Well, the whole collaboration efforts will actually come to fruition and i wish I could say more about that but i’m not gonna.. you’ll just have to wait and see. Also I will be making some single prints here and there releasing them as I edition them. And then in the summer there will be another AP series that is currently in the works. It is a series that will be a lovely follow up to Clockworks, it will be ambitious and I hope will really help define more of what AP is all about. I am stoked. I am looking behind at a year of infancy and growth, AP came a long way in 2013 and 2014 will be full of kick ass intaglio crazypants happenings. So exciting.
I want to thank you all, everyone who has ordered a print, everyone who has shot me a supportive email or clicked the little like button on our facebook page. All of you who have participated in this. You have my eternal gratitude. Making old school ancient prints these days is kinda whacky, unless you are a high brow sophisticate. Which I am the opposite. I like to think maybe AP can bridge the gap between that sophisticated world and the low brow hillbilly art me and my pals make. Our modern culture of homegrown independent artists which moves a hundred miles a second with experimentation and vast pools of amazing talent and work has a lot to offer- and the forgotten antiquated substantial hand crafted methods of old is my favorite place to hang out. It’s all really bitchin.
OH one last thing, My work will be featured in THE HAND magazine next month, so that’s pretty cool. Buy one cause it is a great magazine full of awesome hand made art.
I packed up a complete set last night and took some photos.
Each print is individually wrapped in newsprint, then packed in a protective dense board taco thing which is carefully taped together and placed in a sealed mylar bag - since there are large and medium sized prints in the series I end up with two sealed bags
this particular set is numbers 8 - the complete sets are made up of the low number editions.
The completed mylar envelopes are stacked on a half inch maple hardwood board. Brass through bolts are placed on the corners to attach aluminum straps. The pouches are protected with a thick high impact lexan sheet. And an exclusive AP clockworks home page edition is placed under the lexan.
The straps are tightened down with brass thumbscrews to make it easy to dismantle when it makes it to it’s forever home.
Then I pack this in a super high density box specifically made to its dimensions with room for plenty of packing paper. The entire thing has been tested with hits, drops and impacts and has survived without a dent or scratch. Also makes for a pretty sharp package to open up.
SO yeah.. there you go - that is what a complete set flat shipped looks like.
I am going to try and write more, not with much anticipation that anyone is really reading it.. but more to keep track of things myself and be able to look back at notes and timelines and such. I tend to lose track a bit.
This week has been pretty busy, mainly with packing and shipping. The big wave of orders from release 4 has been a challenge to keep ahead of. Shipping is still stressful but not near as much as release one. After doing it and getting positive feedback from people who have ordered, and not really having any big blunders - well.. it does get easier I suppose. And we have been pretty good about not delaying more than 5-6 days from order to shipment.
The only damaged tube we’ve had has been this poor guy in Dublin. I botched the label and his prints ended up in the LA hub for a month and a half (I imagine it in a dusty corner getting kicked around while other properly marked mail was getting handled…poor robot) I sent him a replacement with proper addressing, and sure enough his first order finally made it to him as well.. but the tube was beat up pretty bad. Remarkably though the prints inside were fine. But if anyone ever gets a damaged print (or even worse, no print at all), basically what I am going to do is mark the damaged edition accordingly in the archives and send out a replacement. If it is a situation where the edition is sold out and there are no replacements. I will send a nice proof, and contact the customer to select a different edition as well. Rather than reprint the damaged edition number which is not very good form in my opinion.
I don’t know why I said all that, just kinda got sidetracked.
I received some really amazing emails this last week, my favorite is from a customer who ordered a Stars edition. It was ordered as a birthday gift for her father who was a pioneer in artificial intelligence. After getting her print she took the time to let me know how wonderful it was and excited she was to give it to her dad. It made me feel like a million bucks. I know it might sound silly, but it totally made my day. It is nice to pull my head out of the printing and packing and working on plates to check my email and get personal messages from folks who have not only appreciated my work enough to buy it but also to contact me after holding it in person. It is pretty wonderful.
I am currently working on a couple different fronts.
First I have been delaying in getting my press kit done. I really do not like to present myself or market or anything like that. It is awkward and difficult and very far from my comfort zone I would much rather just make stuff. But unfortunately just telling people I am reclusive and want to make a spire does not cut it. So I have to wrap up the press kit, get photos taken and put that “to do” behind me.
Christmas is coming, and I am going to be putting out a small set of prints, and cards (yay) they will be tasteful and It will give me an opportunity to use my Astronaut Santa plate. I am also making a very special card for all the incredible people who have supported AP the last several months. So that’s pretty neat.
AP’s official newsletter is up and running, should have the first one out next week. Using mailchimp, which is a very easy to use and powerful email database system with all the bells and whistles. I plan on using the newsletter to put out solid info on AP, illustration, print making and featuring some of the incredible artists and makers I have come to know over the years.
This whole experiment has made me understand the mindset of independent artists so much better. There is such a huge commitment to hand making products to sell to the public. I thought I was savvy before with my shirts and prints and other merch that was produced and sold through different (great) companies. But there was a disconnect that I truly only understand now. And heading into the holiday season with my new outlook makes me want to spend every single shopping dollar on independent artists, artisans, makers and crafters. And that is exactly the plan. When you purchase from a small online store, you are basically santa claus.. giving both to the maker and the giftee. So consider doing the same thing this holiday. If you need a gift for someone, look first at the independent shops, stores and websites. For the most part you will find people and product that has more quality and love invested than anything corporately produced could ever achieve. The world is at your fingertips and there are thousands of brilliant people making one of a kind items. Just something to think about. And to you magical people out there who put your heart into making stuff, and take the huge risk of putting it out into the world. I give you all high fives. Well done.
I was up late again last night trying to find supplies for my riso gocco. I swear JAPAN!! get your act together. You cannot make the coolest easiest screenprinter in history and then just shudder your doors. I found a case of 400 bulbs in Australia for like $800 which I almost considered but seriously… 400 bulbs. a little excessive. And the screens are pretty much all gone. unless you want to spend a fortune for 2 on ebay. So gonna try making my own - lots of folks do it. Shouldn’t be too hard (famous last words)
This post is ridiculous. Is it obvious I am avoiding working on press kit copy? ha!
This is a little delayed, this post about release 4 and stuff. Only excuse I have is that things have been crazy busy packing and shipping orders for R4. Which is a good thing.. to say I am pleased with the reaction and support from the world about my prints is an understatement. Thanks World. I am not very good with people, and I do not really have a lot of interactions or communications with folks. So I really had no clue how my prints would be received or how people would even find out about them (I don’t work well with galleries or wholesalers or anything, so it’s just all on my little website). Luckily / providentially / remarkably, there has been a handful of people with excellent taste who have connected with my work and told their friends.
To have my prints be related to and understood and appreciated enough to purchase is pretty incredible. I do not spend a lot of time explaining each piece or the whole point of Clockworks with a bunch of confusing artists statements. Instead I endeavored to make something immensely accessible and personal. Something that maybe would connect with people. The fact that my subject matter is robots is not at all the key facet to the series. The robots are just a useful tool in expression. To me the key is the viewer, participating in the work through identifying with it. Hopefully Identifying with universal experiences in the human condition. The juxtaposition with the natural environments and the clockwork robots highlights this. But at the same making something whimsical and pleasant to experience, whether you are young or old - fancy or not. Plus robots are pretty great.
It’s fantastic to have all restraints on my work removed, not having to answer to a design firm, apparel company, production group or even audience. Nothing derivative or culturally savvy. To just do something without a target demographic without expectations or limitations is truly rewarding in itself - I had no idea.
I am happy with the series, very happy. I am also so FREAKING EXCITED for what’s coming next. Sure I am going to be putting out some individual stuff in the near future - and some collaborations with amazing artists that are going to be rad. But also 2014 will bring another AP series that I am super stoked about. I promise to revisit clockworks years down the road - but for the time being the robots are going to be just hanging out.. doing their thing. And It will be nice to draw something different. Show folks out there AP is not just sprockets, gimbals and glass domes.
After printing and packing and shipping hundreds of prints, I feel like a veteran. It is pretty much all I do. I have a normal job, and after work and on the weekends I am just in the AP studio proofing, etching, printing, packing, working to the wee hours of the morning every night doing this. It brings me joy and works well with my reclusive obsessive personality.. really well. Add in the understanding and support of my wife and kids who have been really amazingly patient and helpful. It would have been impossible otherwise. At my best I am difficult, at my worse I am a total mess.
I finally got the swag all sorted, buttons, stickers, printed cards, swag bags, mugs, shirts, all sorts of cool stuff. When I get something in the mail, I really appreciate the little cool stuff - I like getting something that has added touches of magic. And I aimed for that with each release. My goal is for people who drop their hard earned cash on my work to get a little celebration in the mail. something that will make them smile.
I am rambling, I can’t help it. there are all these little kinda specific things I want to mention. Like the fact that the successes of the clockworks series, and every dime it has earned is being re-invested into Antiquated Press. How you ask? (I am now rambling and talking with imaginary readers) well I do not want to get into details yet.. but in the next couple months the impact of Clockworks and its success will be revealed. And everyone out there who bought a print will see what they helped make happen. Its all very exciting I promise.
About the lost print. it is used as the banner on the editions page. It shows the CW robots meandering off into the distance, traveling. This print was intended to be the last of the series. And in a terribly sad series of events the original plate was destroyed. It was replaced with Climb, the print that pretty much represents frustrating struggle.But I am probably going to be offering the lost print up as a digital Print available through the AP society 6 shop. I will post about that when I do.
Some cool stuff about the release: Orders were the highest EVER for release four. Orders were 2-1 international. And we shipped to some crazy remote countries and addresses I would be hard pressed to pronounce. We have done our best to keep international shipping as affordable as possible - and it has made a big difference I think. Some super fancy customers too, so that’s neat.
we are also doing a huge giveaway for our supporters, fans, and broke artists who want prints. Giving away prints, mugs, shirts, all sorts of cool. All you have to do is sign up for our all new newsletter. by following this link: http://eepurl.com/ImNQP or going to the official facebook page I promise NO SPAM. And I will be sending out free crap to my newsletter people. Lord knows anyone who would sign up for my newsletter is kinda weird, more than likely awkward. AKA my favorite type of people (all 14 of you)
The stop motion animation for stars was a huge success. it has gotten a bunch of great feedback and featured on printmaking news sites and blogs. if you haven’t watched it - check it out http://vimeo.com/user22185711/apstars
Um, I guess that is all for now (or rather ENOUGH.. I tend to ramble and could really go on and on)… except to say that if you are a customer. Please be in touch. I have only had ONE order get a damaged tube in the mail which I promptly sent replacements. So please keep in touch and let me know if there are any questions, concerns, shipping delays or damages. Also send me a photo of your print if you want. We have gotten all sorts of great photos and seeing my work in the wild is so damn cool.
This is a process film for the edition Stars, part of the Clockworks 13 series of etchings released by Antiquated Press. The video was shot over the course of August, Sept and October 2013. The audio track on the video is “Sea of Air” by Portugal the Man from their album Evil Friends - used with permission. to learn more about Antiquated Press - visit our website antiquatedpress.com
The final release of Clockworks 13 is posted. Which means that the whole of the series is now available. Thirteen editioned etchings. It was a pretty incredibly journey and although I am a bit sad to see it finish, I am very excited about what is coming now that Clockworks is over.
Well over is not quite right, there are a bunch of things that will be showing up on the site over the next week or so. For example the process film for the Stars plate, which I was lucky enough to score the skills of my incredibly talented son to direct the project. I will also be posting a ton of photos, behind the scenes action capturing the intense excitement that is intaglio print making. (I am not sure if “intense” is the right word.. but you get the idea)
Additionally we have some pretty crazy swag relating to Clockworks 13: Buttons (actually just calling them buttons is an understatement.. more like little pinback robot parties), Shirts (yes the shirts are coming back), Totes, Pillows, Stickers, Cards… and action figures (no not really action figures, but that would be really cool)
Also on our facebook page I will be giving away a bunch of prints over the next couple weeks - so if you would like an original etching, but cannot afford it… keep an eye on our FB.
Finally, everyone who has supported and encouraged this endeavor has my eternal gratitude. I thank you all, working on this project is just the start - Clockworks 13 is a complete series.. but it is also just the first chapter in the Antiquated Press story.