![]() Next I used the Spellbinders Lavender Swag Die ( SSS | SPL) and the “hello” from the Spellbinders Phrase Set 2 Dies ( SSS | SPL). Once you experiment a bit, you will be able to do this technique over and over. (The vellum is good for transferring the ink.) However, you may have to experiment a bit with how many to stack.Īs for the plate sandwich for your die cut machine – just use your machine as you normally using embossing folders, but use the Spellbinders Embossing Mat. With intricate dies such as these, I found the best combination to be two heavyweight cardstock pieces and one piece of vellum. I added white Nuvo Drops and a sentiment from the Birch Press Hooray for Everything Stamp Set. You get less tearing with intricate die cuts. This presses the stacked die cuts and ink into the paper, giving the look of letterpress.Ĭheck out how well this works! I do like results best with watercolor paper. I ran this through my die cut machine with a Spellbinders Embossing Mat. I then inked up the vellum side with dye ink and laid them onto a piece of watercolor paper. I stacked them together with a Sakura Quickie Glue Pen. I die cut two of each of the leaves from cardstock, and one from vellum. Be sure to watch the video for a better explanation of how this technique works.įor my first two cards, I used the Spellbinders Little Plants Die Set (SSS | SPL). Additional support is generously provided by the George and Mary Josephine Hamman Foundation, the Kinder Morgan Foundation, the Albert and Ethel Herztein Foundation, CenterPoint Energy, Clampitt Paper, InfoVine Inc., Copy.Com, Spindletop Design, and Whole Foods Market.I *love* letterpress! And am happy to share what I have found to be the best way to get the look of true letterpress using die cutting supplies. The Printing Museum is funded by grants from the City of Houston through Houston Arts Alliance. Major support for The Printing Museum operations and programming is provided by the Houston Endowment, Inc., The Wortham Foundation, Inc., The Brown Foundation, Inc., and Mid-America Arts Alliance. ![]() ![]() In the same way “The Elements” lays out a theorem, illustrated with drawings, the exhibition sets out to prove the proposition that Russell Maret is the foremost letterpress printer of his generation. Comprised of 30 spreads, the book required some 225 press runs, translating into tens of thousands of hand cranks of the Vandercook Universal III to complete the edition. Each spread required up to 19 press runs, registered with expert precision. Then through a complex layering of varying hues, Maret builds the image into a stunningly luminous letterpress print. To achieve the look of depth and light, Maret mixes his own ink using hand ground pigments and creates the plates from drawn textures and photographically transferred tones and outlines. “Interstices & Intersections” is evidence, not only of Maret’s artistic creativity, but also of his mastery of materials and technique. His method for working on the project draws from skills acquired in his tenth grade classroom, where he learned to comprehend a text through making drawings, thus forming the foundation for his life’s work as an illustrator, printer, and book designer. In “Interstices & Intersections”, Maret has selected 13 propositions, one from each book of “The Elements”, and paired them with his own illustrations and companion text. Maret argues that “The Elements’” reliance on both text and image make it an ideal model for the contemporary artist book. Each proposition is illustrated with diagrams that, over the centuries, have become the standard illustrations used to help prove each proposition. Divided into thirteen books, “The Elements” contains roughly 450 propositions (theorems) that have formed the basic principles of geometry, as well as structured modern understanding of theoretical concepts. “Interstices & Intersections” is inspired by Euclid’s classic text “The Elements of Geometry”, which dates from around 300 BC. Comprised of the artist’s notes, sketches, watercolors, proof prints, in addition to tools used in contemporary letterpress printing practices, this exhibition illustrates the creative process of producing a hand-printed, hand-bound edition from sketch to completion. The Printing Museum is pleased to present “Russell Maret: Interstices & Intersections or, An Autodidact Comprehends a Cube”, the latest fine press publication by New York City-based artist Russell Maret.
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