Mélanie Delattre-Vogt signing the first print from her new 'cloud' series.
MacKendree & Tatah
William MacKendree undertaking a mammoth signing of 2 000 prints, taking almost as much time to sign as it took us to print.
Djamel Tatah signs our new image for his show at the Collection Lambert in Avignon.
Abdelkader Benchamma heats up to create a new composition.
He first tries the ink effect on one side.
Benchamma in full swing.
Printed and ready for signing.
Marc Moyano & Camille Poulie
Passing on his savoir-faire: Marc Moyano, who leaves the shop in late December, trains Camille Poulie.
Marc (right) passes the roller on to Camille to for a new work by Desgrandchamps.
Such large formats require two people just for inking.
Farhad Ostovani with his new prints in monotype and woodcut.
Editioning a new Richard Gorman series of 7 woodcuts.
Several small rollers set up with the various colors.
Brecht Evens stares into the blackness as he prepares to tackle a totally new technique.
The 'Manière noire' or mezzotinto technique on litho stone, using needles and metal points to etch white lines into a black surface.
The first scratches into the dark surface. Stay tuned...
Brecht Evens ponders his new project.
Preliminary sketches before working on the stone.
Mélanie Delattre-Vogt concentrates as she embarks on a new adventure.
She is beginning a new series of small-format clouds.
Marc Moyano proofs the first 'cloud' drawing by Delattre-Vogt.
Michael Woolworth resurfacing a stone for the cloud series.
First proof of a new Desgrandchamps print by Marc Moyano and Lauren Januhoswki.
Marc Desgrandchamps starts on a new, large-format composition, making the first lines on tracing paper.
Visiting Paris just in time to catch the last days of the David Hockney show at the Pompidou Center, Blaise Drummond draws a new composition on stone for our ongoing series of small-format prints made strictly in graphite. This images honors the Danish architect Jorn Utzon.
Putting on the finishing touches so we may continue printing, Dine poses yellow paint strokes on one of his future Tools In A Puzzled Vessel.
Inking up the new plate by American artist Peter Soriano.
Soriano is putting together a 4-color print for his solo exhibit Cresta at the CIRCUIT Centre d'art contemporain, Lausanne, Switzerland.
Michael Woolworth inking up the Soriano plate with metallic silver ink.
Nothing is more beautiful than a large, successfully laid-down flat. Here, printer Julien Torhy and intern Agathe Domenech team up to roll a flat ground for a new Dine image.
Four hands work together inking this huge relief etching plate by Dine.
Jim Dine turns each proof of this etching series yellow with thinned acrylic paint; we will then place more plates on top.
Renée Levi signs her monotypes under strict surveillance from her partner, Marcel.
Renée inspired by Meret Oppenheim...
Artist and dealer. Bernard Jordan selects the prints for the upcoming exhibition at his Paris gallery.
Taking a step back to observe.
Marc Moyano continues to pass the monotypes through the press.
Renée Levi talks color and ink density with printer Marc Moyano.
Too much sunlight under the skylight in early afternoon; the artist shifts position.
She lays in her composition with thinned printing ink on Plexiglas, using brushes, scraper bars and other utensils.
Linotype machines in action at letterpress shop during final printing of the Tatah project.
A team of three, Cécile Guettier, Agathe Domenech and Fanette Rosier are in charge of assembling copies of Tatah's finished Camus book project.
Pierre Budin primary school comes to visit
Pierre Budin public primary school, in partnership with the Maison Rouge foundation, has developed a linocut project with 23 4th grade students.
Each student has engraved a lino which Fanette Rosier and Marc Moyano are inking up in order to pass them through the press.
Marc Desgrandchamps signs an edition of 25 of his latest large-format lithograph, Muybridge et son ombre, finished in time to show it at the MAD fair at the Maison rouge.
Djamel Tatah on a new composition.
Commissioned by the summer contemporary art program L'Art dans les chapelles, a regional initiative that invites artists to install their work in the many chapels throughout Brittany, this year featuring a multiple by artist Claire Colin-Collin.
Claire Colin-Collin at work on her multiple, a drawing printed on copies of the French daily Le Monde from the French election day in May.
A future book project is tried out by Blaise Drummond. A small; 90-page book about printing leaf samples from the 5 green areas surrounding the shop, Place de la Bastille.
Blaise Drummond scoured local public parks and gardens, collecting a range of leaves from the tree species as a testimony of the neighborhood fauna. We then mix a color, roll up the leaf and pass through press like a stamp.
Several states of a Marc Desgrandchamps print in progress.
Brecht Evens working on a commissioned piece with tropical fish as his models.
Letterpress printing of Djamel Tatah's Albert Camus book
At the estimable letterpress shop S.A.I.G. run by François Huin to print all the Albert Camus texts in Egmont 18 for the Djamel Tatah bibliophile book. M. Huin is setting type with his apprentice, Jacques.
The incomparable Monsieur Hue at the helm of press for Camus texts. He is certainly one of the most gifted letterpress printers around.
Desgrandchamps starts a new large-format composition from scratch.
The first step consists exclusively of a graphite drawing to be printed in black.
Once the black of the first drawing is proofed and hung on wall, he starts a second color, blue, painting in litho ink onto tracing paper. The shapes will later be transferred to plate.
Brecht gets some help laying down large areas on this new composition, a commissioned piece for town hall of his birthplace in Flanders, Hasselt.
Building a new body of work consists of making new matrixes or, as here with Jim Dine, recycling old ones. Here we see a new etching on Plexiglas (center), to be inked and printed on top of the adjacent hanging proofs.
The artists does one of his favorite things, confounding established methods.
Collaging onto clear plastic that is stapled on top of the working image, using collage elements cut from a large print we made on tracing paper of his initial master woodcut matrix. Once he says he is done, we transfer the image to litho plate and print it on top of whatever he wants
The making of a new etching : the plexiglas is laid on top of ongoing image. With black magic marker, he'll trace parts of the image he wants to work in.
Which we put on the wall on its other side. This permits him to intervene with his abrasion tools while seeing where it'll hit the image in the end.
Printer publisher, author and translator Bénédicte Vilgrain from TH.TY. stops by and witnesses Dine in full swing.
Jean François Maurige
New experiments in woodcut by Jean-François Maurige.
Blaise Drummond comes in to create a new composition. He cut out small, 2 cm thick lhorizontal logs and had us ink up each one in a different color, then print them on a rectangular sheet. The results never satisfied him and the project was put on hold.
Installing the Atelier Woolworth retrospective, La Louvière, Belgium
Early morning on the central market square in La Louvière on the way to the museum.
Exhibition setup for the atelier's retrospective at Belgium's national print museum. Here, the crates holding the plaster blocks for José Maria Sicilia's "rug" arrive.
Olivier, the museum's main installer, with the crates containing Sicilia's rug.
Marie Van Bosterhaut, the show's coordinator, and Oliviermount Roberto Matta's Don Quichotte, respecting its original form from the early 80s.
Layjng out the wall of Jim Dine's proofs from our first Pinocchio book in 2007.
On a visit to lithographer Bruno Robbe (left) at his studio in nearby Mons, Belgium, after a day of installing the exhibit.
Richard Rodgers and Renzo Piano
The Pompidou Center came to us to commission a special birthday print to celebrate the museum's 40th year of existence. Renzo Piano and Richard Rodgers, architects of the famous building, drew a complex image using their first drawings of the project from the early 70s, making a color lithograph in an edition of 100.
Signing the finished piece: Rodgers (left) and Piano in the editions office of the Pompidou Center.
They hadn't been reunited in a decade apparently.
And here they are performing as a team the ritual.