Archives for category: Turn-Based Press

This Spring season finds me behind on my planned activities–my grandmother passed away in early February after declining health concerns, and at the time of this post’s writing, it’s only been just over a month since then.  She helped to raise me and my brother, and I don’t feel as if I’ve yet had the proper time to grieve.  Work has had to continue, as has teaching.  Somehow, I’ve still been very active, even while other planned tasks have had to be delayed.

Turn-Based Press participated in the the MOA+D Bazaar Bar on February 21, for which I made and printed some upcycled, T-shirt Lubber Totes as well as a few Moleskine notebooks.

Lubber Tote by KH for Turn-Based Press

Also for Turn-Based Press, I printed a triptych edition for Adler Guerrier, on view in booth B15 for Marisa Newman Projects at Volta, March 5 – 8.

More plans are in the works: I’ll be heading up to the University of Wisconsin at Parkside to be a visiting printmaker towards the middle of April, and I have an edition series with four artists that I’m going to print for Turn-Based Press that I’ll be initiating in just a week or so, I hope!  Grief is unpredictable, of course, so I hope that everyone can be patient. <3

Volta opened in New York today, and in booth B15, Marisa Newman Projects, you’ll find an installation of work by Adler Guerrier (full disclosure: my husband!) which includes a triptych of prints.

Adler Guerrier at Volta NYC 2015, Marisa Newman ProjectsThis triptych edition of 50 can better be understood from the printmaker’s perspective as three separate editions of 50, each with two runs–or 300 runs total (if you only count the good impressions).

The base run is a polyester plate lithograph from a scanned solvent transfer, printed onto the plate from a laser printer.  Adler uses solvent transfers frequently, and some funky artifacts from the initial copies that were used to make the transfers are still visible in the prints, which have their own artifacts from the janky laser printer that Adler and I used to print the litho plates.  You can see the scanned solvent transfer images on his website, for comparison.  [On the to-do list, by the way, is purchase a new laser printer for TBP expressly for polyester plate workshop use.]

Adler’s body of work for the past couple of years has used a color palette inspired by local flora and architecture; he gave me color samples that I had to match.

The litho ink had to be mixed somewhat in advance of printing, as I knew I would need to add mag (magnesium carbonate) to the inks to lessen the chance of the image filling in or scumming during printing; I think the polyester plates are more sensitive to the texture of mag that hasn’t sufficiently been absorbed into the ink mass than stones or ball-grained plates are, so I prefer to let the inks sit at least a day before using them.

In any case, whether the inks are oil-based or acrylic (as for screenprinting), it takes some time to get the color right, as you can see below.  [The ink on black paper was for the Lubber Totes I printed for the MOA+D Bazaar Bar event, not for this project, though the rest of the tests were.]

Ink tests at Turn-Based Press

To keep myself from getting confused by the numerous draw-downs, I name the colors once I get it right.

Ink tests at Turn-Based Press

Ink for Guerrier triptych, Turn-Based Press, Whale Tail

Polyester plate litho is printed just like stone–conceptually, at least.  In practice, it can be more frustrating–things can go wrong that you don’t have as many at-press remedies for.  So care taken before the plate ever makes it to the press is crucial.  Plates can’t be touched, digital images either need to be half-toned or carefully adjusted for brightness and contrast, the plates need to be heat-set, inks need to be modified a bit differently, gum needs to be added to the water, and maybe a bit of mag as well.

Stones feel forgiving, generally, I think, but I have learned that polyester plate litho can be very predictable during printing; I even successfully closed a plate down with a gum-coat and printed with it again the following day with no image deterioration.  This shouldn’t be news to other lithographers out there–I mean, I myself had read that it could be predictable, and that they could be used again over multiple printing sessions, but until this edition, I suppose that I hadn’t had them completely figured out.

Rolling up a polyester litho plate at Turn-Based Press

I’m only able to print about four or five polyester plate impressions an hour, though; it’s part of the dance that balances the speed of the image rolling up against the chance that it will roll-up too quickly, and likely then fill-in.  If you do the math on 150 polyester plate impressions, you’ll soon realize that Adler has priced this triptych at a steal, and that I’m on my feet for eons during printing.  The latter explains my strong advocacy for anti-fatigue mats, which I set up in regional trails in the printshop according to my movements.

Printing the Guerrier triptych at Turn-Based Press

If I had a litho press at Turn-Based Press, I likely would have done the base run from a solvent transfer onto a stone (amusingly, I do have those!).  Since I have etching presses instead, it had to be some form of plate lithography, preferably without pin-registration (it feels too cumbersome for me on etching presses).

Printing a polyester plate for the Guerrier triptych at Turn-Bas

Adler made a gif of me registering paper to one of the plates on the pressbed. It’s epically gigantic. You can see it here.

After the litho run was sufficiently dry, a run of fine, screenprinted marks was done on top.  Adler developed the marks for the screenprinted run from the actual lithographs themselves, rather than from pre-planned imagery, in case of any possible mismatch between the work-as-executed and the planned images.  He drew the positives with ink on tracing paper, and they were directly exposed to the coated screens.

Adler Guerrier work-in-progress, triptych edition, screenprint p

I don’t think we took any images of the editions while screenprinting; it was so quick. Oh, well!  Here’s one of me cleaning up.

Screenprint clean-up at Turn-Based Press

It’s always satisfying to see a whole bunch of prints side by side.

Adler Guerrier work-in-progress, triptych edition, checking qual

However, it’s a completely different experience than seeing the triptych as a whole, framed, installed work.

Adler Guerrier at Volta NYC 2015, Marisa Newman Projects

Adler Guerrier at Volta NYC 2015, Marisa Newman Projects

If you’re up in NYC right now, go give them a personal look-see.


September’s annual DWNTWN Art Days always has me in a frenzy; Turn-Based Press participates with demonstrations or workshops and a show, both of which are a lot of organizational work and physical labor.  This year, I’ll be leading a workshop with Tom Hart of the Sequential Artists Workshop in Gainesville, Florida titled Comic Art Workshop: Draw and Print!


All the prep time for Art Days happens right at the start of the semester as well, and there’s always a bit of adjustment at the start of classes in terms of the school’s printshop.  In addition to those expected eventualities, this year I’ve had several deadlines to meet for my own artwork–a happy complication, of course!

I’ll be participating in the MDC/NWSA faculty show at the Museum of Art and Design in downtown Miami.  The show is called Work/Work, and in addition to several framed prints, I’ve been working on a large-scale, repeat-pattern version of Stupid Lubbers which has been quite challenging.  Work/Work opens on the first night of DWNTWN Art Days, Friday, September 19th, from 6 – 9 PM.

K. Hudspeth, Stupid Lubbers (in progress), 2014; at Turn-Based P

K. Hudspeth, Stupid Lubbers (in progress), 2014; at Turn-Based P

I also created a print for the Sweat Broadsides with Stephen Schaurer, which is a combination of collography and pronto plate lithography.

Cuts (on the pressbed), by K. Hudspeth and Stephen Schaurer

The latest iteration of Sweat will be exhibited at the Miami-Dade College Kendall Campus starting September 25, with a reception on October 2nd.  Though it’s not part of the DWNTWN Art Days, the work delivery deadline was right in the thick of Art Days preparation, so it was as good as being part of it for me.

Stephen will do a reading of his poem during the Miami Book Fair on November 22nd. I’ll post again about that closer to the event.


It’s end-of-semester again! Grades are due soon, I did my stint at juries, the class print exchange is coming up this week, and an event at Turn-Based Press at the end of the week has me making even more prints than usual.

I’ve been tearing down a ton of paper, trying to get Pronto Plates printed [Note to peeps: Kinko’s/FedEx no longer allows printing on “customer-supplied” paper–THANKS A LOT! Guess I need to look into a laser printer that can handle 11″ x 17″.], printing film positives for screenprinting [Note to peeps: HP inkjet printers that can handle 13″ x 19″ are the bee’s knees!], working on hand-drawn positives and printing, printing, printing.

Some images below.

K. Hudspeth, hand-drawn positives for Stupid Lubbers. In product

Right Way Up  (Pronto Plate edition) from The good Inn, by Black

The Good Inn edition