crafty

Interview: Nat Swope, Bloom Press

This month's interview is with Nat Swope from Bloom Screen Printing in Oakland. Nat was kind enough to give us an interview (in between running his shop, teaching classes, and little league with his kid). Nat and I work on a few projects a year together for clients who need multiple prints, and he always does an amazing job. Q: Hi, Nat. How are you?

Doing fine, thanks.

Q: How did you first learn to screenprint?

My aunt Mary, who is an artist and art teacher, gave me a rudimentary introduction to it. I had already figured out stencils, cutting frisket, so screen printing made sense. A little bit later I got a job printing shirts. That's how I learned about production, on the clock. I didn't go to art school. I was into photography so exposing screens photographically was pretty exciting. This was the late '80's/early '90's so I caught the tail end of paste up before computers really came into play, which I always thought was helpful later on. Most art departments back then were still using copy cameras and rubylith. But the short answer is I learned how to screen print the same way you learn how to do anything: by doing it over and over again. The other thing that really accelerated the learning process was printing for other people. It led me down a lot of roads I would never have gone down had I only been doing my own work. Getting a glimpse into other people's processes has been invaluable.

Q: What about screenprinting gives you that special feeling inside?

Screen printing is a bit like assembling a puzzle and I like that. I like graphics and flat, clean color. I like paper. If things are going well it can be meditative and rhythmic. At this point though it's really about the people I'm working with. I've been lucky to work with a lot of people I genuinely admire.

Q: Can you tell me a few of your favorite clients?

Too many to name and I don't want to leave anyone out.

(book by Michael Bartalos)

Q: When a new client comes to you, what do you ask them?

Can I see a file before we talk about cost and deadlines?

Q: What's your favorite kind of job to print?

Again, it's the people I'm working with that matters the most. I like seeing what gets them excited. Often the client is responding to something I'm not really thinking about. My concerns are usually technical. I'm in problem solving mode and the artist is usually operating on a more emotional, gut level--do I like how it feels?

Q: Is there a kind of image that is _not_ served by being screenprinted?

Well, it has to be designed with the medium in mind. It's a flexible process but it can be unforgiving. If you don't understand spot color and key line you're going to have a hard time. Not everything has to be simple spot and trap, like a coloring book, but if you don't at least understand those things you're in for a rough ride. Less is more. It's also a fine line between surrendering to the process and being particular about certain things. Choose your battles. It's good to aim for perfect but perfection is unattainable. And boring.

Q: I know you used to have a machine-run press, but you gave it up to focus on hand work. What about doing all your prints by hand appeals to you?

Autos are great and there is nothing inherently better about things made by hand. Part of what I like about screen printing is that it is mechanical and I do not fetishize the hand made. The machine just kind of turned my studio into a factory and I just didn't really like it. I have more room to maneuver in my small space now.

**

Thanks again to Nat Swope. If you want to see some of the work in person (and take some goodies home as well), visit Bloom Press (2310 Telegraph Avenue, Oakland) on May 3 during First Friday.

(clockwise from upper left: Steven Harrington, Will Adler, Nat Russell, PoorNo Graphics/Homer Flynn)

your moment of zen : illustration resources and whatnot

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Chris Rathman's Bead-A-Mation for La Costa Perdida

Wow. I'm stunned. Chris Rathman has taken the cover art I created for Camper Van Beethoven's La Costa Perdida and has done stop-motion animation with plastic beads to create this super-groovy video. There's lots of great CVB in-jokes that whiz by. You'll have to see for yourself. Behold:

Peaches In The Summertime - Camper Van Beethoven (Full Bead-A-Mation) from Chris Rathman on Vimeo.

Apparently, this took Chris six months to complete. Stunning.

By the way, have you checked out the artwork I did for the new record? Here's a taste.

el_camino_real

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The Long View : Art in Antarctica

My friend and amazing artist Michael Bartalos is taking part in a once-in-a-lifetime art project in Antarctica. Have a look see.

From the site: "Greetings and welcome to The Long View Project blog. My name is Michael Bartalos and I’m pleased to be designated the Academy’s first Affiliated Artist. I’ll soon be on my way to Antarctica on an exciting project at the crossroads of art and science, and you’re invited to follow along.

My ultimate objective is to create a very long piece of sculptural artwork using recycled materials from polar research facilities in order to raise international awareness of resource conservation and eco-preservation practices in Antarctica, and by extension, to promote and inspire sustainability worldwide. In the process, I expect to learn a whole lot about environmental issues, scientists’ lives on the ice, the history of polar exploration, and creativity’s role on the southern continent."

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