Friday, 2 March 2018
Thursday, 1 March 2018
Having been tremendously fascinated by Jon Larsen’s continuous search for micrometeorites, I wanted to bring my first ever large print to a test by making my own version of one of his spectacular finds, number 280.
The test prints came out OK, but there’s more work to be done with the plate to print a final edition. However, I kept an edition of only two of the first prints that still look kind of beautiful, despite their lacking details.
Friday, 17 November 2017
Sketch for a series of cards with quotes. This one, a Radiohead-gem from 1997.
Thursday, 16 November 2017
I bought my first press! Have been on the lookout for a second hand one for a couple of years now. I am the third owner. Still very much in perfect condition. I can’t find any signs of a manufacturer, though it seems to resemble the Polymetaal HPV-60.
The first test print (contains a possible christmas-card spoiler) came out beautifully. Good tools produce better results. The mangle that led me to this has from today been demoted.
Sunday, 3 September 2017
Process notes for Experiment 1. The idea: A continuation of my initial project – to learn how the tools and materials (lino and different types of ink) behave. For my contribution to the Posted/Unposted exhibition.
One. An edition of 40 decent linoleum prints is hard to achieve. Especially when the DIY press applies uneven pressure to the block and when the printmaker is hardly a printmaker (yet).
Two. Remember the name of the paper you’re printing on.
Three. Always do a minimum of one test run.
Four. Umber ink, please dry! I hear extenders and retarders provide such qualities. How about just making ink capable of drying without additives?
Five. Pre-made coloured envelopes are really expensive. Custom made ones take time.
Six. Do envelopes need glue to be considered envelopes?
Seven. Damn proper linoleum with its canvas backing-lint sticking to my ink rollers.
Eight. Do not number and sign the edition until all parts of the project are completed.
Nine. A proper printmaker never cuts, only tears (paper).
Ten. Need paper-registration practice. Cheat-code: Carve crop marks directly into the block!
Eleven. Perfection was never the goal. Process rather. And seeing it through. Phew!
Wednesday, 30 August 2017
Tuesday, 22 August 2017
Work in progress. Showing first at the Bergen Art Book Fair in October along with many other artists and designers through the Nordic Letterpress collaboration. The exhibition is titled Posted/Unposted.
Mette Ambeck / Jim Berggren / Nina Bondeson / Birna Einarsdóttir / Leifur Ýmir Eyjólfsson (Reykjavik Letterpress) / Tova Fransson / Edward Johansson (Ahvaland) / Ane Thon Knutsen / Bent Kvisgaard / Imi Maufe / Sakari Männistö / Lina Nordenström / Ottar Ormstad / Tina Jonsbu / Viba Bredahl, Hjördis Haack, Nina Kleivan, Jesper Palm, Anna Marie Ploug, Carina Zunino (Svends Bibliotek) / Barbro Ravander / Johan Solberg / Göta Svensson (Tryckkammaren) / Richard Årlin
Saturday, 10 June 2017
Wednesday, 1 March 2017
Tuesday, 28 February 2017
Monday, 27 February 2017
Sunday, 26 February 2017
Thursday, 30 June 2016
Wednesday, 22 June 2016
Sunday, 19 June 2016
I have created a series of patterns for Edward’s exhibition Crossings. A collaborative effort – printed by Ahvaland. If you find yourself on the Åland-islands this summer, the work is on display along with plenty of other artists’ contributions.
Wednesday, 30 September 2015
Saturday, 30 May 2015
Wednesday, 27 May 2015
Monday, 25 May 2015
I had been reading online about converting old mangles (clothing-presses) into etching/relief presses. In principle, their function is identical. Spare mangles are abundant, whereas etching presses are scarce, both used and new.
Buying a new press would be an exaggeration, as they are both expensive and difficult to transport. I had no luck asking people where I could find one in desperate need of a new home, nor did I get any results from ads. Since I already was in possession of two mangles, the choice was simple.
I compiled a list of items to to make the conversion complete:
- a bed plate made from a thin, strong material to fit between the two rollers
- wool printmaking blankets (at least two)
- a table/workbench to mount the mangle onto