You may know my guest today if you've ever encountered the Speedball Printmaking Posse, a print loving tour of artists that spread the gospel of printmaking while doing demos, handing out posters and samples of relief inks. He's even got his own namesake Super Graphic Black ink with Speedball. His name is Lino Bill Fick. His work is a bit rockabilly, can be viewed as deranged, and it captures the essence of his signature style of drawing which can be brushy, inky, and always graphic with intense black lines. Learn about his unusual beginnings abroad as the son of an oil company worker, how the Outlaw Printmakers started up, and hear about the book that he and Beth Grabowski published called "Printmaking: A complete guide to materials and process".

Today on Let's Get Technical, Lino Bill walks us through some of his best tips for linocut printmaking.

Check out Lino Bill on Instagram.
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Kathy Caraccio is a New York based master printer who started out studying under Arun Bos at Hunter College in the 60's, and after graduating spent four years printing and absorbing all kinds of knowledge at Robert Blackburns Print Workshop. It was there she learned the ins and outs of being a collaborating printer and got glimpses into the world of dealing and collecting prints by watching Robert Blackburn sell the prints published in his studio. Her first publishing job was for Pace, before they had their own print operation, printing a commemorative suite of etchings for Louise Nevelson. She opened her studio and has been a printer for the past 43 years, printing for the likes of Ema Amos, Ed Clarke, Romaire Beardon, Sol LeWitt and many other artists. Kathy comes on the Print Cast to tell her story about she got into printmaking, what it was like working at Robert Blackburn's print studio, and stories of the many collaborations she has done since then.

Today’s Let’s Get Technical is all about Collagraph! Hear some great tips from the master herself.
-Using a PVC plastic or polystyrene plate (sintra is one brand )
-How to prepare the plate with a mesh that simulates an aquatint
-Adding collage materials...but not too much
-Printing the plate in intaglio and relief styles

See Kathy's collection and learn more about her at https://www.kcaracciocollection.com/
Follow Kathy on Instagram @kathyprint

Some other announcements:
Self Help Graphics is having its Biennial Print Summit over Zoom, March 10,11,12 of 2021. Check their website for more info. Selfhelpgraphics.com
Self Help Graphics in Los Angeles is also hiring a Master Printer with a specialty in Serigraphy. Learn more at selfhelpgraphics.com/opportunitites

This episode is Part 2 of my conversation with Phil Sanders, author of Prints and Their Makers, a new book out from Princeton Architectural Press about artists and master printers and the processes that bring them together. If you haven’t heard Part 1, it precedes this episode in your feed so I encourage you to catch up before listening to this installment of The Print Cast.

If you are all caught up, then today is a treat for you because we’re about to embark on a lengthy Let’s Get Technical segment regarding relief printing, and other logistical things related to print publishing. Since it is rare that I have a guest like Phil, I wanted to indulge a bit over how to approach making a relief or block print, and he offers up some really helpful tips regarding printing, prepping, and even some creative ideas that might help you transcend your current working process.

At the end Phil tells us about where you can find his new book, and I encourage you to go out and pick up a copy. Find your local art book dealer and see if they have it, or feel free to order direct from my guest Phil Sanders. He even offers some collector editions which include hand pulled prints to go with this hefty addition to your print book collection.