Nick Naughton, artist and custom printer, talks with printmakers, designers, and illustrators about the work they do and how it intersects with the trade and the craft of printmaking. Discover how artists started their print shops and get an intimate view of what it's like making and selling prints to the masses today. The show features artists working at the forefront of print media today and we discuss their work, studio life, growing as a creative, technical tidbits, and all other things print.Naughton is an artist and has been print-obsessed for almost 2 decades, and he brings a diverse background to his role as host. He's been a professor, non-profit shop manager, studio owner, and has practiced every technique from screen print and letterpress to relief, intaglio and even kitchen litho. The show drops a new episode every two weeks featuring some of the best minds working in multiples today.
<p>That’s right, it’s hot out, and so with everything and everyone slowing to a snails pace, I have opted to go on a short break. Not only is it weather induced, but I’ve also hit a technical snag with my laptop dying this past week. Without it, I can’t edit and record, and my most recent interviews are trapped on a hard drive that may or may not work again. Pray that it works, but either way I’ll get it fixed and be back before you know it. Good printing to you all in the coming weeks and wish me luck as well! The Print Cast will return soon!</p>
<p>The conversation continues with part 2 of my interview with The Little Friends of Printmaking. We talk about the various aspects of their business, and how they focus on quality of life, not on expansion. They've got a children's book in the works, so we get the dish on how that is going! They do lots of visiting artist gigs at colleges, and we discuss logistics for those types of opportunities and they talk about the wonderful benefits of spending time and working with students all over the country.  We also talk about what it looks like to work with dream clients, and we delve into the age old feud between fine art and commercial printing. They’ve got a terrific dynamic that carries us through, so I hope you enjoy this final installment of my interview with The Little Friends of Printmaking. At the end we pitch the concept for The Dave Kloc Appreciation Society, so be on the lookout because the organizational meeting is coming for that soon. Oh and Cat Con...yeah, of course, there’s more cat stuff. <br><br>Check out <a rel="nofollow" href="http://www.instagram.com/thelittlefriendsof/">The Little Friends</a><br>Follow <a rel="nofollow" href="http://www.instagram.com/theprintcast/">The Print Cast</a></p>
<p>It's another raucous interview with a couple of LA's most renowned screen printers! This time, Nick sits down in the live/work studio of The Little Friends of Printmaking to discuss their art, travels and print hustling lifestyle. Of course, we go over Melissa and James' midwest upbringings and then we discuss their college years at UW Madison and other influential moments in the early years when the couple met and fell in love with print and each other. <br>They talk about their travels through Japan where they've visited in recent years, and how their work changes shape to accommodate selling prints on the road. Recently the duo was hosted as the Feature Artisans at Disneyland's WonderGround Gallery. They share about their interactions with the public and the benefits of keeping in touch with their audience. With a popular style and the speed of information today, they have to keep their work fresh because it's one thing to make popular prints, but it's another to constantly stay ahead of the curve in our social media age. It's the pod's second interview in a row where we lament the greatness of gigposters.com.<br>And then there's the cat stuff, the glorious cat stuff. <br><br>Follow the <a rel="nofollow" href="http://www.instagram.com/littlefriendsof/">Little Friends of Printmaking </a><br>Follow <a rel="nofollow" href="http://www.instagram.com/theprintcast/">The Print Cast</a></p>
<p>Episode 10 of the pod features an interview with artist Dave Kloc. I journeyed North to LA's Atwater district and hung with Dave in his garage studio. We recounted war stories from our shops, and talked about all things gig poster. We talk about some of the best illustrators and designers working today in the poster realm, and there's an overwhelming passion present throughout the whole episode. Dave does Flatstock a couple times a year, makes a poster a week, and doesn't even have time anymore to do the printing. So now he collaborates with some of the best printers in the US, and his output is better than ever before. Did you see his recent piece for The Washington Post? He's everywhere, and today he's my guest on the Print Cast.<br><br>Check Dave on <a rel="nofollow" href="http://www.instagram.com/davekloc/">Instagram</a><br>Follow <a rel="nofollow" href="http://www.instagram.com/theprintcast/">The Print Cast</a><br><br>See the <a rel="nofollow" href="http://theprintcast.com/">show notes</a> with all of our references listed </p>
<p>Episode 9 of The Print Cast features a discussion with John Pusateri and Jan Philip Raath who together run Auckland Print Studio in Point Chevalier, New Zealand. It's one of the few studios in NZ offering litho, intaglio, relief and other print services to artists who want to create editions. We talk business models as they try to search for a way to move forward towards sustainability with print sales and program expansion. It is never clear what the most optimal model is for running a shop, but after 10 years they have created a solid foundation for their next steps forward. If you've ever been curious what it would take to do printmaking in far-off locales, this one is for you. <br><br>Check out Auckland Print Studio on <a rel="nofollow" href="https://www.instagram.com/aucklandprintstudio/?hl=en">Instagram</a>.<br>See their services and learn about their <a rel="nofollow" href="https://www.aucklandprintstudio.com/">residency</a>.<br><br>Follow <a rel="nofollow" href="http://www.instagram.com/theprintcast/">the Print Cast</a> on Instagram!</p>
<p>In Part 2 of Nick's interview with Enrique Chagoya, they do a deep dive into his art. They discuss the history of the codex book format, dating back to pre-columbian times, and why it's a relevant format for Chagoya's art. If you recall, it was a lithographic codex that was vandalized in Loveland, Colorado, and we recounted the entire incident in Part 1 of this interview. We go on to talk about appropriation and specifically artists who create art on top of other artists' work. Chagoya calls prints unique multiples, which implies they possess a similar aura like that of unique works of art. The artist shares how he maintains work-life balance, why meditation helps his daily life, and how he keeps going with a busy teaching and art career. </p>
<p>Nick sits down with artist Enrique Chagoya, in Part 1 of a two-part series. Enrique Chagoya is an artist who inverts cultural appropriation in a manner he calls “Reverse Anthropology”.  With a deft wit, his paintings, drawings, prints and codices use “symbols as one would use words in a sentence,” often with hilarious and biting results. At times his art can even arouse misinterpretation, negative press, and even vandalism. Nevertheless he persists and continues to tackle subjects like sexual abuse in the Catholic Church, racism, xenophobia, and pop culture, to name a few. Present in all of his work is humor, thoughtful juxtapositions, and myriad references harkening back to other artists’ work, pop icons, figures of government, and his Mexican heritage. It can be disarming to view his work, where you might be laughing and unsettled at the same time. And that is the power of his art; it is intended not to change minds but provoke conversation and dialog.</p><p>Chagoya is currently Professor of Art at Stanford University. His work has been shown internationally and is represented in the collections of the San Francisco Museum of Modern Art, the LA County Museum of Art, the National Museum of American Art, the Des Moines Art Center, the Whitney, MOMA, and the Metropolitan Museum of Art.</p><p>Check out his work <a rel="nofollow" href="https://www.artsy.net/artist/enrique-chagoya">here.</a><br>Follow <a rel="nofollow" href="http://www.instagram.com/theprintcast/">the Print Cast</a><br><br>See the show notes <a rel="nofollow" href="http://theprintcast/episodes/">here. </a></p>
<p>Imagine a space where you can spend an afternoon screen printing your own band merch? Or finally learn how to use a Risograph machine to print your own zine? Maybe you want to enroll in a class; maybe make an etching or a woodcut? It can be difficult to find the space and amass the needed tools and learning the techniques is another huge hurdle. Today in Los Angeles, there is one place where you can attempt to do all of that and more. Nestled in Chinatown, sharing a space with an art book seller A.G. Geiger, 4 artists run a communal printmaking studio called Printshop LA. These artists come from diverse backgrounds with personal art practices that dovetail with the mission of the shop. It reflects the vitality of LA’s art scene where artists often have to join forces to make an impact and create opportunities. By combining business models, they not only enhance their individual practices but also extend a lifeline to artists and the public who would love to share their equipment and resources. Printshop LA is Michelle Miller, Jayse Caitlin, Sean Hernandez and Dave Kloc. I welcome three of the four founding members today where we’ll talk about their pursuit of making printmaking accessible in Los Angeles. <br><br>Check out all three artists on Instagram<br><a rel="nofollow" href="http://www.instagram.com/pressfriends/">Press Friends</a> aka Sean Hernandez<br><a rel="nofollow" href="http://www.instagram.com/heavygel/">Heavy Gel</a> aka Jayse Caitlin<br><a rel="nofollow" href=" http://www.instagram.com/michellemillerprint/">Michelle Miller</a><br><a rel="nofollow" href="http://www.instagram.com/printshopla/">Printshop LA</a><br><br>Follow <a rel="nofollow" href="http://www.instagram.com/theprintcast/">The Print Cast</a> on Instagram<br>Become a supporter of my <a rel="nofollow" href="http://www.patreon.com/theprintcast/">Patreon</a></p>
<p><b>Margot Myers joins the show to discuss site a specific installation and what it’s like to be a volunteer board member for the largest printmaking conference in the US. <br>She is an intaglio print artist working in Bellingham, Washington, running a studio called Runaway Press where she creates her work, maintains a thriving batik business, and offers classes and events. Margot is also a volunteer board member for Southern Graphics Conference International and is serving a two-year term as treasurer for the non-profit that runs the event. <br>With the 2019 conference recently taking place in Dallas, Texas, I invited her onto the show to tell me about her work on the board and what it’s like to help stage the conference versus attending. She gives some perspective on this year's event and gives us an eye into what we can expect in the years to come. We discuss programming, and particularly how the conference strives to provide content for all types of audiences including for first-timers like her student who joined her this year. Margot also installed a large scale print-stallation on an outdoor staircase this year, and she shares how that experience opened her eyes to the dynamics of foot traffic and whether or not viewers choose to tread on the art itself. She is interested in how some passers by avoid walking on the work, while others are oblivious to what is under their feet as they ascend the stairs. <br>This is a great episode for anyone who is curious about how art non-profits work, especially organizations that turn over their leadership every two years. How do they create continuity? Do they have systems that help one year inform the next? Steering committees for each new city change over as well, thus leaving each year to define itself in its local context. <br>The next conference is going to be in San Juan, Puerto Rico and it’s the first time that the organization is bringing the event to that territory. That conference is being called Puertografico and information to participate should be available soon. </b></p><p><b>More info about SGCI: </b><a rel="nofollow" href="http://www.sgcinternational.org"><b>www.sgcinternational.org</b></a></p><p><b>Follow Margot: </b><a rel="nofollow" href="http://www.instagram.com/runaway.press/"><b>@runaway.press</b></a></p><p><b>Check out her work: </b><a rel="nofollow" href="http://www.runaway.press"><b>www.runaway.press</b></a></p><p><b>More episodes available at: </b><a rel="nofollow" href="http://www.theprintcast.com"><b>www.theprintcast.com</b></a></p><p><b>Follow the show at: </b><a rel="nofollow" href="http://www.instagram.com/theprintcast/"><b>@theprintcast</b></a></p><p><br></p>
<p>Starting a letterpress shop isn't easy, and it takes time. In this episode I talk with Andrew Myers and Joey Gross of Public Print and Supply Co in Kansas City. They're a new printshop in town, but not new to the print game. With three months under their belts, we discuss the difficulty of self branding and previous businesses and shops where they both have worked. I inquire about the types of business they want to cater to, but also what they see for the future. With the start up phase of any business being rather mercurial, the future could result in many outcomes. It's an exciting time for Joey and Andrew and this episode gives us a tiny view of what it's like behind the press in a new studio and what that looks like in the early stages of development. <br><br>Public Print and Supply Co is Andrew Myers and Joey Gross (formerly of Survival Letterpress) and is located in the West Bottoms district in Kansas City, Missouri.<br><br>Follow Public Print and Supply on Instagram<br>@publicprintco<br><br>Follow The Print Cast on Instagram<br>@theprintcast<br><br></p>
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