Posts Tagged ‘printmaking videos’

The Story of This Print: “El Patio del Harem”

January 25, 2012 1 comment

"El Patio del Harem" Liquid-metal print by Maureen Booth


Back at the Alhambra

I’ve started on a series of medium-sized liquid-metal prints on Alhambra themes. Granada’s medieval fortress and palace has been for centuries a source of inspiration for artists, writers and photographers, so much so that today it’s difficult to get an original take on it. This time I’m relying on the inherent looseness of the liquid-metal technique to try to achieve Alhambra images with some originality.

I had one of those wonderful printmaking experiences at the beginning of this project. The first proofs I pulled from the first plate, El Patio del Harem, looked frankly great and I thought, “This is it, I’ll print up an edition.” But before I could start, I took a close look at one of the plates from which I had just pulled a proof. In the ink residue left on the plate I could still see beautiful detail. So I rubbed a light layer of yellow ink into it, rolled some fresh silver ink on top and put it back through the press, making a “ghost print.” I was shocked to see how superior the ghost was to the live one. I have placed the original print at the top of this post, the ghost below. See if you don’t agree with me.

"El Patio del Harem-Ghost" Liquid-metal print by Maureen Booth

This print was done with liquid metal on an old, previously-etched copper plate, a still life with fruit. I put the cold solder on with a palette knife and when it was still quite sticky I drew into it with a stylus. I didn’t press any texture elements into it until about an hour and a half later. I left it overnight to harden and printed it on 600 gr. handmade paper. The ghost print was printed on 375 gr. Paperki handmade paper. I like this one better.

The Story of This Print: “Grapes for Claudio” / “Uvas para Claudio”

December 4, 2011 Leave a comment

Grapes for Claudio / Uvas para Claudio

In 2009 our son Bill and his wife Victoria adopted a two-and-a-half-year-old boy from an orphanage in Madagascar. We picked them up from the Granada airport when they arrived back with Claudio, after a two-month get-to-know-each-other period on the island. Claudio was in Bill’s arms with his hand stuck reassuringly in his new father’s shirt.

On his first visit to our house Claudio was taken with the bunches of ripe grapes hanging from the vines over our terrace. He stretched and fretted until Bill lifted him up to pick some, and Claudio stuffed his little cheeks full. There was so much joy in that image in my mind’s eye that I made an etching of the grape arbor. It’s called “Grapes for Claudio.”

Claudio is now four. He speaks Spanish like a four-year-old Granadino, and loves to paint.

Claudio painting with his Nana   Claudio painting in Maureen's studio

This is a relief acid etching worked on a 15 x 30 cm. zinc plate.  I first varnished
the plate then did all the line work. The nitric acid (28%) was diluted12:1.
Then I cleaned the plate and painted all the images with covering varnish, and
left it to harden overnight.  Next day I put the plate in a stronger acid bath,
and left it for a couple of hours, wiping away the bubbles frequently with
a feather, so as to keep the lines clean.  There is no aquatint on this plate.
The stronger acid makes an interesting background.  Then I printed it a la
poupé on hand made cream-colored Arpa paper.  The little birds are painted
on with  watercolor after the print is pressed.

It’s Now Easier Than Ever to Access My Printmaking Master Classes

September 3, 2011 3 comments

Maureen Booth

Want to Take Your Prints to the Next Level?

My Printmaking Master Classes series of printmaking instruction videos are now easier to access than ever. You can see trailers of all of them here below. I’m convinced that these videos will help you and thousands of other printmakers to take both their plates and their prints to the next level of expertise.

.Start Your Selection and Purchasing Process Here

Here below are the preview videos of my seven Printmaking Master Classes. To purchase the full version of any one of them just click on the Pay with PayPal button below the preview. You can select more than one. (Note: You don’t need a PayPal account. This system also permits you to pay with your credit or debit card.) As soon as we receive payment we will send you a link to your video(s) on YouTube.  (You will note that we are now required to quote prices in euros instead of dollars. A euro is approximately $1.11.) Thanks for considering these learning videos. We’ve put a lot of love into them. I’d love to hear your reactions. Please send them to me here: maureenluciabooth(at)


Preview of “Printmaking Tips” Video

Maureen presents a series of useful tips to make your studio a more pleasant and profitable place to work.  Length: 24:32  Price: €15.00

Claudio painting with his Nana

Maureen’s “Printmaking Tips” Video

Maureen presents a series of useful tips to make your studio a more pleasant and profitable place to work. She discusses press care, safety measures, deckle edges, solar-plate tips, tarlatan economy and much more. Putting all these tips into practice will make a significant improvement in your day-to-day working processes.




Preview of “Traditional Printmaking 2″ Video

This video picks up where Traditional Printmaking 1 leaves off. Length: 26:58
Price: €18.00

“Traditional Printmaking 2” Master Class

This master class picks up where Traditional Printmaking 1 leaves off. It deals with aquatint, sugar lift and marbling. An artist who masters the techniques that Maureen explains on the two Traditional Printmaking videos should be able to produce exhibition-quality acid etchings.




Preview of Liquid Metal Printmaking Video

This is a curious technique which uses a plumbers’ epoxy adhesive to create wonderful relief plates.  Video includes creating plate and creative printing techniques, including a ghost print.  Length:  27:36  Price: €15.00.

“Liquid Metal Printmaking” Video

This technique takes everyone by surprise in the most delightful ways. Using it you can create an incredibly nuanced, multi-color relief print on a single plate and with a single pass through the etching press. It has to be seen to be believed. When a printmaker sees one of these prints the question is always the same: How did you do that?




Preview of “Creative Printing” Video

How many of your plates have seen their perfect print? This video will give you a fresh take on printing. Includes lots of different ways to print copper, zinc and solar plates with chine collé, rainbow roll-ups, and reserves. How to achieve a multi-color, multi-level print from a single plate.  Length: 22:38  Price: €15.00

Maureen’s “Creative Printing” Video

A printmaker brought me a couple of plates recently, asking me what she could do to improve them. I suggested we pull a few prints in order to see just what was on the plates. We finished the following afternoon with a series of exhibition-quality prints, without making any changes to the plates. That’s creative printing.




Preview of “Making a Chop” Video

Do all of your final prints bear your chop? Maybe you need Maureen to show you how to make and use one. Your chop lends charm, authenticity and your own personal “logo” to every print.  Length: 13:41 Price: €9.50

Maureen Booth Printmaster

Maureen’s “Making a Chop” Video

A chop–that little relieve image embossed white-on-white at the bottom of your print–adds such a note of class to your work, and it’s not difficult to create.




Preview of “Solar Plate Printmaking” Video

This video has Maureen’s personal take on how to make better solar-plate prints. The secrets are in the original. Includes cutting and preparing plates, making negative relief and positive intaglio plates, printing tips and care of plates.   Length: 24:50  Price: €15.00

Cathy Naro, Maureen Booth

Maureen’s “Solar Plate Printmaking” Master Class

Solar plate has an undeservedly bad reputation. That’s because too many solar-plate prints look like simple bad photocopies. Excellence in solar-plate printmaking requires precisión every step of the way, with closest attention to the acetate. In this video Maureen shows how.




Preview of “Traditional Printmaking 1″ Master Class.

This video covers best practices in hard-ground and soft-ground acid etching. Traditional Printmaking 2 (coming soon) will deal with aquatint, sugar lift and marbling. Includes soft-ground recipe, and printing with reserves. Video presents a succession of state proofs for the techniques. Length: 31:04  Price: €15.00

Lou Netter and Maureen Booth working together in her studio

Maureeen’s “Traditional Printmaking 1” Master Class

Maureen goes over the basics of acid etching on copper or zinc plates. This is where the magic begins and if you don’t get it right now you’ll never get it right.



.WWhat’s a Gallinero? And why would you want to stay there?

What Printmakers Need and What They Want

June 23, 2011 Leave a comment

Filming Printmaking Master Classes in Maureen Booth's Granada StudioI’ve been doing printmaking master classes in my studio since the late 80’s. Over that time I’ve a learned a lot about what most printmakers need–and perhaps more importantly–what they want (with a nod to Bob Dylan: “She knows what you need, but I know what you want…”) To sum it up briefly, printmakers need to dominate the basics and pay attention to detail. Once they have these factors under control they can let their creative juices flow. To do so earlier often leaves artists adrift for the rest of their printmaking lives. It’s like any other activity you want to take seriously. There’s no substitute for good coaching in the beginning. Read more…