Flower

Charon

Y’know, I’ve been calling myself a “printmaker” for years. Maybe secondary to being a “painter,” but I’ve definitely said it a few times. Well it wasn’t until this past December (2016) that I did my first, proper print run. A proper edition. 40 prints of our boy, Charon, ferryman of the dead!

It was an interesting process to set this all up in my studio… that is, my apartment. It worked out very well in the end! I had to get a little creative in my setup to achieve the uniformity required for a proper edition though. Especially (well ok, MOSTLY) because I don’t have a printing press. But I documented the whole thing and here we go!

First we need our ink! I’ve certainly never had to mix this much ink for anything before. How exciting!

I love using small amounts iridescent colours in lino prints. It gives just the tiniest bit of extra luminosity without looking cheap or cheesy.

Oh, I should mention the fact that this was a reduction-print. Something I’ve never tried before. In all of my other printmaking, like the book covers and such, I’ve made a separate block or plate for each colour to be printed. With the reduction method, the same block is used for every colour; reworked at every colour change. As much as I hate to admit it, it was talking to my brother, Trevor, that made me realize a reduction-print was exactly what I wanted for this image. ‘Course Trevor taught me linocut printing in the first place, so maybe it’s not so horrible to give him a tiny bit of credit. It’s also really cool cause with this method you essentially destroy the block for each colour as you work, so I can never ever print this again! 40 of ’em and that’s IT! Here’s the second colour from block, to ink, to print, to mass drying.

So to make up for the lack of a press, I had to figure out some way I could print all 40 of them, and all four colours of each uniformly. I built myself a makeshift image-registration-apparatus. MIRA for short. My dear sweet MIRA was made of cardboard and packing tape. There was a hole to fit the inked block, and a kind of slot to line up the edge of the paper. The pressure was then applied by hand by yours truly.

Unquestionably professional inking station, of course. UPIS for short.

MIRA in action.

It worked remarkably well.

Sebastian helping out.

Little dummy only managed to get a big paw print on one of the prints, which now has a happy home. The print, not the paw. I let him keep that. (Actually I was unsure if I was supposed to sign that one Corey AND Sebastian… Maybe a monoprint? Maybe that made my final edition 39 and not 40!? But then I realized that if he was my unpaid intern I wouldn’t have to credit him in the least, so here we are.)

The third colour.

The final colour.

I spent two-days-straight kneeling in this cozy printing nest.

Looking goooooood…

Just look at them all!

And there he is! Our boy! Charon! Crossing the river Styx. A river so austere, even the gods swear their oaths by it.

Speaking of our boy, it’s me! Checking to see if they’re dry yet! Photo credit to our boy, Andy!

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