Journal

Photopolymer plates are fun but intimidating things. These are a thin steel sheet coated with a soft film of UV-sensitive monomers. When exposed to a strong UV light (precisely 365nm for the curious), those monomers link up together to form an ultra-hard polymers. The remaining un-linked monomers

In the printmaking world (and probably the art world in general), scarcity is this thing that gets people excited. Scarcity creates value. This is why printmakers edition their works, because it creates value, it creates exclusivity. It tells the buyer: You are special, because there are very few people like

In China, Korea, and Japan, rather than using a signature, people have for centuries marked documents using a stamp that for whatever reason is called a “chop” in English (which to my ear sounds faintly racist, but I have no idea the origins of this word). Because of the influence

Interactive tiling generator

Making museum-quality giclée prints requires more than just a good printer, it requires a carefully calibrated workflow to ensure the highest standards of color reproduction. And, as I'm learning, it’s not easy. You have to color calibrate your display of course. You also need specialized printing

It only took a couple of beers, and 20 minutes of print time for this to finally happen. Maybe you are familiar with linocut printmaking. This is similar, except instead of carving up a block of lino, we’re experimenting with making printing plates out of plastic on a 3d

For years I’ve been sending my work out to labs. The results are good, but something is missing. In trying to figure out what, I’ve ended up deep in the world of photogravure, polymer plates, and now I’m launching printmaking studio called Katsudon Experimental Press.