Thanks etsy seller jvdarcy, for making this excellent Prinsty treasury! Congratulations on the front page. Printsy team members, keep 'em coming!
Friday, May 23, 2008
Monday, May 19, 2008
Etsy Printmaker Interview: Bird Nerd
Name
Chelsea Groves
Website
http://chelsea.sevorg.org/ and http://birdnerd.etsy.com/
Brief Bio
I'm 26 years old and married to a software engineer. We've lived in the San Francisco bay area for a little over a year, but I am originally from South Carolina. We have a dog named Delilah, who is my constant companion during the day.
What printmaking medium do you most often work in?
Linocut block prints
How did you get started in printmaking?
I learned linocut printmaking in high school, starting in the 10th grade and learned more in the 12th grade.
I noticed that from your website that you do art full time. How did you make the decision to become a full-time artist?
I was working as a graphic designer part-time when I began making art for fun. I felt I had to constantly curb and compromise my creativity in my job, and I wanted to make something just for me, something that wasn't on a computer screen, that I could actually hold in my hands. I decided to try selling my creations and it worked out much better than I had hoped. I began making more and more art, and it consumed most of my time. At that point, I was going to my graphic design job only when I was absolutely needed for projects. My husband got a new job in San Francisco, which took me away from graphic design for good. I've been making art full-time since March of 2007.
Describe where you work.
I work in my home in the room which is technically our den. It's one of the largest rooms in the house and has the most windows. It has two desks, one for art, and one for computing. The computer desk also has a sewing machine underneath, which I can pull up when I need it. I tend not to sit at desks, so I also have a daybed in the room, which I sit/lay on while I draw and paint. My prints are made on my dining room table, which is in the adjacent room.
How do you get past creative slumps?
I don't really have slumps. Sometimes I find that I have too many ideas floating in my head and I feel like I can't execute them the way I want to, which can be really frustrating. In those instances, I force myself to take a break for a few days. When I return to my work, I am usually more clear-headed and can make things the way I want to.
How do you promote your work?
I don't do very much for promotion. I am on a few sites like Flickr, Indiepublic, and Trunkt. I try to list something on Etsy every day to keep my visibility up.
Any other comments or advice for others who want to try making hand-pulled prints?
My advice is to learn one printmaking technique thoroughly first, and then to move onto other areas you are interested in. There are so many different printing techniques that I think it can be a little confusing or discouraging to try to tackle it all. Once I felt I'd mastered linocut printing, I felt confident to move to screen-printing because I had a good grasp on the basics and what I was trying to accomplish.
Thanks to Chelsea for sharing her life as an artist. It was a pleasure to interview her.
Chelsea Groves
Website
http://chelsea.sevorg.org/ and http://birdnerd.etsy.com/
Brief Bio
I'm 26 years old and married to a software engineer. We've lived in the San Francisco bay area for a little over a year, but I am originally from South Carolina. We have a dog named Delilah, who is my constant companion during the day.
What printmaking medium do you most often work in?
Linocut block prints
How did you get started in printmaking?
I learned linocut printmaking in high school, starting in the 10th grade and learned more in the 12th grade.
I noticed that from your website that you do art full time. How did you make the decision to become a full-time artist?
I was working as a graphic designer part-time when I began making art for fun. I felt I had to constantly curb and compromise my creativity in my job, and I wanted to make something just for me, something that wasn't on a computer screen, that I could actually hold in my hands. I decided to try selling my creations and it worked out much better than I had hoped. I began making more and more art, and it consumed most of my time. At that point, I was going to my graphic design job only when I was absolutely needed for projects. My husband got a new job in San Francisco, which took me away from graphic design for good. I've been making art full-time since March of 2007.
Describe where you work.
I work in my home in the room which is technically our den. It's one of the largest rooms in the house and has the most windows. It has two desks, one for art, and one for computing. The computer desk also has a sewing machine underneath, which I can pull up when I need it. I tend not to sit at desks, so I also have a daybed in the room, which I sit/lay on while I draw and paint. My prints are made on my dining room table, which is in the adjacent room.
What's your creative process for any given print? (eg. sketch 
first? Pre-planned or free-form?)
I sketch first, then make a clean, finalized drawing. I then take the drawing and transfer it to my block using contact paper. My prints tend to be very graphic and with clean, bold lines, so I plan it all carefully before I begin carving the linoleum.
What do you enjoy most about printmaking?
I'm not sure exactly what it is about it, but I remember being thrilled after making my first print. In an age where everything is digital and made perfectly by machines, it is so refreshing it carve something with your hands and be able to produce an image. No two prints are exactly alike, and it can be fun to see the small variations.
What's your least favorite part of the process?
When I put too much ink on a block and the print comes out blurry and I have to just sigh and put it in the trash. I guess I don't like the fact that once I've made a mistake, there's nothing I can do to fix it.
What are your inspirations (other artists, people, places, events, etc.)?
I am mainly inspired by art nouveau and Japanese design. Nature is also HUGE for me. I see certain flowers, leaves, or forms in my everyday life and feel compelled to make a print.
How has your work changed and evolved since you started?
I used to make more multi-layer prints, but now I prefer the simplicity of single-layer prints. I think I used to think that if something was more complicated and more difficult to make, it automatically made it better. I have definitely learned that this is not the case.
I've also learned chine-colle, which I've just started to incorporate in my work and look forward to doing more. The most recent thing I've learned is screen-printing, which I use to print on fabric and make bird stuffies and sachets.
first? Pre-planned or free-form?)I sketch first, then make a clean, finalized drawing. I then take the drawing and transfer it to my block using contact paper. My prints tend to be very graphic and with clean, bold lines, so I plan it all carefully before I begin carving the linoleum.
What do you enjoy most about printmaking?
I'm not sure exactly what it is about it, but I remember being thrilled after making my first print. In an age where everything is digital and made perfectly by machines, it is so refreshing it carve something with your hands and be able to produce an image. No two prints are exactly alike, and it can be fun to see the small variations.
What's your least favorite part of the process?
When I put too much ink on a block and the print comes out blurry and I have to just sigh and put it in the trash. I guess I don't like the fact that once I've made a mistake, there's nothing I can do to fix it.
What are your inspirations (other artists, people, places, events, etc.)?
I am mainly inspired by art nouveau and Japanese design. Nature is also HUGE for me. I see certain flowers, leaves, or forms in my everyday life and feel compelled to make a print.
How has your work changed and evolved since you started?
I used to make more multi-layer prints, but now I prefer the simplicity of single-layer prints. I think I used to think that if something was more complicated and more difficult to make, it automatically made it better. I have definitely learned that this is not the case.
I've also learned chine-colle, which I've just started to incorporate in my work and look forward to doing more. The most recent thing I've learned is screen-printing, which I use to print on fabric and make bird stuffies and sachets.
How do you get past creative slumps?I don't really have slumps. Sometimes I find that I have too many ideas floating in my head and I feel like I can't execute them the way I want to, which can be really frustrating. In those instances, I force myself to take a break for a few days. When I return to my work, I am usually more clear-headed and can make things the way I want to.
How do you promote your work?
I don't do very much for promotion. I am on a few sites like Flickr, Indiepublic, and Trunkt. I try to list something on Etsy every day to keep my visibility up.
Any other comments or advice for others who want to try making hand-pulled prints?
My advice is to learn one printmaking technique thoroughly first, and then to move onto other areas you are interested in. There are so many different printing techniques that I think it can be a little confusing or discouraging to try to tackle it all. Once I felt I'd mastered linocut printing, I felt confident to move to screen-printing because I had a good grasp on the basics and what I was trying to accomplish.
Thanks to Chelsea for sharing her life as an artist. It was a pleasure to interview her.
Monday, May 12, 2008
Etsy Printmaker Interview : Fustian
Name
Marissa Buschow in the real world, fustian in the internet world.
Websites
fustian.etsy.com
flickr.com/photos/fustian
fustianed.blogspot.com
Brief Bio
I was born and raised in the Dallas-Fort Worth metroplex in Texas. After a brief episode of floundering about without direction at Hampshire College in Massachusetts, I moved to Lawrence, Kansas, and got my B.F.A. in printmaking from the University of Kansas. And no, I have no idea why I picked Kansas (why do people always ask me that?). Unfortunately I'm not very good at art classes, so that experience was a rather frustrating one, especially as I became more and more interested in birds and biology. I left Kansas, annoyed with art and artists, and returned to Texas where I quickly discovered that, hey, art can be WAY more fun on your own!
Especially when you make it about whatever you please! Who'd have thought? In any case, through some mysterious turn of events, I am now living in Auburn, Alabama, where I work for the university's biology department and mess with bluebirds all day. This fall I'll be banding birds while living in a
tent in Idaho (no electricity! no internet!! aaaaarrgh!), and past that? No idea.What printmaking medium do you most often work in?
Almost always I work in relief, especially woodblock. I don't have the facilities for any other kind of printmaking - though I have fantasies! The traditional Japanese style of woodblock printmaking, moku hanga, is certainly my favorite, if only because of its flexibility and portability.
How did you get started in printmaking?
It occurs to me that museums should probably use my example as a success story to get more funding: I wandered into the Amon Carter Museum in Fort Worth, Texas, where they had a room full of woodblock prints from artists in Provincetown in the early 20th century (not that I knew what I was looking at at the time). They were so ludicrously pretty that I got a hankerin' to try it myself. As soon as I could, I signed up for a woodblock printmaking class at Smith College and, well, discovered my passion.
Describe where you work
I'm rather poor these days, so I work on a coffee table or, if I need more space, a fold-up plastic table. I have to watch out, though, because my pet lovebird likes to chew up paper.
What's your creative process for any given print? (e.g. sketch first? Pre-planned or free-form?)
I'm one of "those" people: I work from photographs. Most of my prints are about specific species found in the wild, so I want to be as accurate as possible within the limits of the medium. Oftentimes I'll encounter an animal or a bird for the first time and simply become obsessed with it. In order to get it out of my system, I have to make art about it. Other times I use printmaking as a learning process; for example, my sparrow series is my way of cementing tricky identification problems (as any birder knows, sparrows are damn hard to tell apart!). Occasionally I'll work from an unplanned sketch, but those are few and far between.
What do you enjoy most about printmaking?
Getting lots of copies! Isn't that why everyone else does it?
In all seriousness, though, it's because the way I work translates easily to the medium: I'm a fan of intensive, planned pieces, in which 90% of the enjoyment is in the process, not the result. I love losing an afternoon to a block or having to spend hours how to fit all my colors and layers together. If only I got paid hourly!
What's your least favorite part of the process?
Registration. I loathe registration - because I'm awful at it.
What are your inspirations (other artists, people, places, events, etc.)?
In the art world, any and all relief printmakers, especially those that work a lot with nature (if we're dropping names here: Mary Brodbeck, Sherrie York, the people at Tugboat Printshop, a dozen more folks on etsy; dead people: Frances Gearhart, Utamaro, Hiroshige, any of those old school New Englanders). Also, I look a lot at scientific illustration, especially from 18th and 19th century naturalists (the notorious Audubon springs to mind).
In the non-art world, wildlife. There are innumerable beautiful animals out there that go largely unnoticed, whether because so many people stay indoors and in cities, or because they haven't been raised to notice such things. Without that whole "nature" thing, I have no idea what I'd do with myself.
How has your work changed and evolved since you started?
Honestly, I made a lot of crap in school. I blame it on my teachers. Since I don't like to think about that phase of my art-making, I will say that in my art since then I've become much more ambitious with color and I use a lot less negative space. I think it's because I'm getting better at the technicalities of moku hanga, so I'm not as timid as I once was.
How do you get past creative slumps?
I wait it out. Probably not a good thing to do, either. I'm not one of those people who make masterpieces during their bad times, so if my life is going through a rough period, the art's just gotta wait 'til things settle down.
How do you promote your work?
Hmm.... I don't? I'm really bad at that.
Any other comments or advice for others who want to try making hand-pulled prints?
My first printmaking teacher told the class, "Don't worry, your first print is going to be crap." I would have to agree with that - the first half dozen, even! There's so many technical tricks to learn in printmaking that it often frustrates those who want instant art, instant success. Patience! Practice!
Thank you to Marissa for allowing us to take a peek into her life as an artist. It was a pleasure for me to interview her.
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