HEADQUARTER’S First Newspaper Interview.
There’s no better way to make yourself feel like a douche bag than editing footage from an interview you were in.
We killed it ladies. lol
I promise I wasn’t bored, I just look that way.
invest in your subconscious
submit to the Future Thought Collection — the first compilation from HQ Press
make history… 26 days ‘til the deadline 3/1/2014
Today’s the deadline for submitting to the Future Thought Collection. If you haven’t already, do it!
We first encountered Esther White’s work after she contacted us to arrange a print swap earlier in the year. Being a fellow Mass-dweller we were interested in finding our more about her practice, particularly her printed work. Thus, a new printerview is included below, enjoy!
When did you start printing?
I first studied printmaking in high school when I took a night class at Mass Art in oil-based monotype. As a college student at Barnard, I split my studio time between the digital lab at the International Center of Photography and the printmaking studio at Columbia University, where I learned etching, stone lithography, and relief printmaking.
Where do you make your work? Home studio? Shared print space?
I split my art-making time between my home studio, where I draw and paint, and a shared print space where I make monotypes and silkscreened work. I belong to Zea Mays Printmaking, a community studio dedicated to safer and sustainable printmaking. I also do some of my work at HeadQuarters, an underground (literally — it’s in a basement garage), DIY art space in Northampton, MA. HeadQuarters is the home of HQ Press, and it’s where I make copier art and artists’ books.
Who would you love to collaborate with?
This is a tough question because within my arts community, and especially within HeadQuarters/HQ Press, I have a lot of opportunity for collaboration on curatorial and publishing projects. I’m working on a compilation book project for HQ Press right now called “Future Thought Collection,” and I invited a number of my favorite cartoonists to participate. I’m excited to work with my contributors as an editor, but I would also love to do a more intimate collaboration someday. I struggle with drawing, so I think I’d like most to work with someone who’s better at it than I am —- they could push me!
Where are some of your favorite spaces in Western Mass for contemporary art or design?
I’ve already mentioned HeadQuarters a number of times, but I can’t emphasize enough the importance it has in my world! The collaboration & experimentation that it facilitates in Northampton is very important to me. And if it’s alright, I’d like to make a plug here: HeadQuarters is currently doing a fundraising drive to stay open, with further information here.
The printmaking studio where I work (and teach), Zea Mays, is also a hub for exciting new artwork. The studio is also a gallery and research center with over 70 artist members, many of them working in cutting-edge non-toxic printmaking techniques. My colleagues at Zea Mays have a huge influence on my work, and using a shared studio space is a huge asset when I’m stuck on an idea and need some informal feedback.
NB: the images included are from her series of monotypes titled "Hands" which is an ongoing body of work where Esther is investigating her experience with chronic pain through the act of drawing her own hands.
dye-based silkscreen research continues
Good workspace photos with tips for keeping things organized and clean. Sometimes that’s the hardest part about learning a new process.
Video demonstrates different fill & stroke methods, with an emphasis on keeping ink in neat & minimizing force required to get a good stroke. A bit repetitive but great info!
Akua Intaglio silkscreen tests http://estherswhite.tumblr.com/post/76377339078/estherswhite-more-akua-intaglio-ink-silkscreen
my printing technique isn’t perfect… struggling with my press setup, printing without margins doesn’t help
more Akua intaglio ink silkscreen tests… that’s probably 90% tbase (at Zea Mays Printmaking)
Update on Akua intaglio ink silkscreen printing:
I made three screens to overprint transparent inks in blue, magenta, and yellow.
My first printing mix (2/7/2014) was made of Akua Transparent Base and Akua Intaglio colors (Ultramarine blue, magenta, and Hansa yellow) in a generous (but un-measured) mix of approx 10:1. Printing mix very tacky and thick, consistency of machine grease. After only an hour, the printing mix started to make an oily halo around ink on paper. This was subtle on cheapo watercolor paper and strong on the BFK Rives lightweight. Edges on prints were not sharp, partly because paper stuck to screen after printing (I had very small margins, and this may not have been a problem with bigger paper or a vacuum table press). Colors somewhat muddy, but have nice transparency. Almost dry by 2/11.
For the second test (2/8/2014), I made a new printing mix with Akua Transparent Base, Akua Blending Medium, and Akua Intaglio colors (Pthalo blue, magenta, and Diarylide yellow) in a similar ratio, approx 10:2:1-2. I added Blending Medium by the drop until my printing mix was syrupy. but not slick. This second, thinner, mix was much easier to print and did not seem to produce oily halos around ink deposits. Prints release from the screen more easily. Ink deposits look a little “bubbly” right after printing but smooth out as they dry. Colors more vivid, probably made stronger printing mix. Completely dry by 2/11.
Other notes: Akua inks do not dry on tracing paper because it does not absorb the ink (Akua inks dry by absorption). Don’t bother printing a registration guide with Akua inks!