Christian is in full swing making an allover black image. 

Once rolled up his blue and white stripes, he pursues in black on top.

End results.

He signed 8 finished compositions.

As an artist very comfortable in serial work, he chose one sheet size and one style of paper: Rivoli 120g, 64x45 cm.

In three sessions, he made over a hundred complex, masterful pieces of which around 70 were kept.

A more advanced stage with another five color woodcut and another etching pass, but in white on black.

Anthony White, on left, surveys inking of his fourth plate.
Big Jim Dine etching hanging in back
and Marc Desgrandchamps
edition in the air suspended by clothes pins.

Anthony created all the plates from September to November. Some were cutout shapes transferred to plate, some were hand drawn lines or shapes on others.

Printers Alice Gauthier and Marc Moyano
have teamed up to produce the run of 30.

Anthony White with help from the Creative Career Fund administered by The Copyright Agency, (Australia) has been funded to collaborate with Atelier Michael Woolworth experimenting with lithographic processes. More information can be found here: http://copyright.com.au/culturalfund/career-fund/projects-supported/2015-career-fund-projects 

French artist Emilie Pitoiset in front of her fallen silk sheet waiting for it to settle.

She approaches the press and flicks it on top of metal matrix in a quick movement.

The soggy sheet will settle for a few seconds and then will be promptly removed by her, where upon Julien rushes with his greasy ink covered roller and spreads the ink over the wet surface and reveals the imprint of the silk.

Emilie, at the moment of letting the sheet drop, just before letting it go completely.

The artist with Sébastien Faucon, head of the program at the culture ministry, selecting the diptychs before signing.

First results very promising. 

A wonderful effect both from line and background

Just for the record, this is a table plank hanging around printing space with random color spalshes from past years.

Dine was so enthusiastic discovering it one morning, he asked to gouge it and turn it into a woodcut for his new piece.

You have here current state of image with double hit of carved plank. Most likely this image, in progress, will not look much like this in the end, but its nice to remember states.

Pen, ink and pencil composition on stone in front space while Dine is wreaking havoc in back with chainsaws and grinders.

Trials for Jean-Michel Othoniel to be placed in his future exhibit in October at Editions Dilecta Gallery in Paris. A long story to be told at a later date.

Final result or B.A.T. of L'orage by Marc Desgrandchamps. An edition to be printed at 100 copies format 65 x 50 cm on BFK Rives.

Carole Benzaken starts her first experience in monotyping.

While Jim Dine pursues his third large format of the season.

Big monotype session with Pierre Mabille hanging his own works aided by intern Eléonore Giessler.

The heat is so present, artist has almost stripped.

Rehearsal of reading with composer and bass player Marc Marder of their performance around Jim Dine's new unreleased  poem "My Letter to the Troops".

Sound engineers are fretting for best setup.

While Dine waits, sound engineers are having a headache of a time to meet Marder's requirements.

Dine waits while everyone is figuring out the best plan.

A complex composition by American artist Jim Dine titled Cheval Blanc Poem has finished end of May and is being signed by him.

This image with an overall of 30 woodblocks and hand interventions and collage is the sequel to the winter project of 6 equal dimension pieces.

Following his major undertakings at the shop this past winter, Jim Dine recommences in a frenzy, with a new book project, a series of portraits hand-carved on linoleum, drawn directly from the model. The portraits will illiustrate Dine's long poem, My Letter to the Troops, to be published by Fall 15.

For this, her first experience in lithography, she
devises several culinary-inspired compositions in stone lithography. 

Hand-stitching by assistant Olympe Racana for the deluxe edition of Blaise Drummond's Louis Vuitton travel book. On the wall, the first state of Carole Benzaken's print; left, a Jim Dine proof.

Fearless, as usual, Yuri Kuper applies his washes with a brush.

Using a specific combination of water and grease and water to achieve a patina.

Drawing on stone to begin his print for Louis Vuitton. The image, which begins in stone lithography, will then receive several other types of interventions.

With the first proof hanging up behind him, the artist paints an area of water in blue on tracing paper.

The first proofs of his new images, sonogram of bird songs translated into daguerreotype, printed on japanese paper.