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new color work

October 26, 2012 at 4:32 am

In the past I have been very frustrated, impatient, and (even?) bored when re-printing new editions of old prints. When you print something for the first time, there’s the moment of excitement when you see how the color layers are coming together, all these interactions that you had previously only conceived of in your head and tried your best to build into the transparencies. That moment can be super exciting, when it all works as you planned… super frustrating, when you realize how far off you were… either way, undeniably compelling.

That flash of totally new resolution, and the engagement & process & figuring out that go along with it, is missing from a second printing, and I’ve found myself just not caring about how a second edition of a print turns out. I don’t know if that’s a terrible confession of my artistic callousness — or if it’s actually okay, like it’s just not life-or-death anymore, and really it’s not life-or-death at all in the first place, it’s just ink on paper, it’s okay, and the second-edition-reprints make that clear (whereas the first printing of something is usually the culmination of a ton of work and stress and intense energy and carries all that momentum…).

But for some reason re-printing the Industrial Trust Building prints (first printed in 2009) was really fun and I had a great time mixing the colors and I think they are a lot better (or maybe just more confident and less conservative) than the original colorways… and I have developed a lot of control over the rainbow roll / ink gradient (most of which just involves doing lots of test prints on waste sheets when you can tell the gradient will not be smooth)… and I have somewhat better command of the transparent colors as well. Also I have this new technique for keeping my screen exactly in the same place which takes all the frustration out of alignment (!!!).

So! Very satisfying. There’s one “subtle” colorway, partly inspired by the personal fashion color scheme of awesome friend Christiane Marie, one “pink and grimy green” colorway for all those pink-lovers which now includes me I guess, and two more that are semi-converses of each other and are somewhat based on colorways from the postcards and are just bold & good. When sleep-deprived I have found myself saying that the colors on the blue-&-mint-green-sky print are “perfect”. Not sure I would totally stand by that when not hopped up on two hours of sleep. But it looks pretty nice.

Color mixing sequence. The first picture here appeared in the last post, but I threw it in for nerdy comparison purposes. Look at the two test sheets, one white, one ‘ivory’, that appear in all three of these photos, for context of “how many marks have been made since the last photo was taken”…

I took this picture for Buck Hastings so we can prepare to battle, I think he will win…

Chipboard is so not archival but it looks sooo good with silkscreen ink on it…

Your diligent correspondent, having just printed around 350 of these bad boys; that’s 2 pulls on each print, not counting all the test pulls on newsprint! I’m awaiting the day when someone says to me, “Wow, you really have the shoulders of a serigraphist!”

Here are some of the shelves I referenced in the last post: the new ones are on the right, at paperback-depth (upper) and zine-depth (lower)…

… and new ink shelves for all the transparent colors (the laser-cut background panel was scrap from a recent project by amazing Providence artist & friend Joan Wyand!).


Looking across the Woonasquatucket River valley, from the (newly cleaned up & organized) third floor studio:

and last but not least, happy Halloween from Buio!

studio time

October 5, 2012 at 4:22 am

Radio silence here, due to mostly-quitting facebook (it was sucking all my life, time, & attention away?) and spending a lot of time taking care of long-procrastinated projects around the house & in the studio. Which has mostly meant cleanup & organization, sorting out things, taking action on random un-acted-on things, and building shelves. I probably haven’t talked about how much I like building shelves… more on that sometime soon, along with pictures of the shelves. (“It’s not hoarding if the stuff is on a shelf, right???”)

Now it’s back to art work, somewhat reluctantly. The studio is way way way more organized & more of an actual useful active work space than it’s been since we started renting it (SIX YEARS as of early September ’12!), so now I know how long it takes to have a functional studio space come together, for future reference. I find myself with a physical desire to keep organizing “just a little bit more”, to “really put things into place”, but I’m aware that organizing itself can be a procrastination tactic for me. I want to recognize the substantive value of “setting up” even in the absence of “actually playing” (as evidenced by the hours my childhood best friend Alyssa and I would spend “setting up” the My Little Ponies, in preparation for “playing with them” which never quite actually happened, the “setting up” was engaging enough in itself or maybe was really the whole point…). However, in my semi-grownup or at least no-longer-9-years-old life, I have stuff I want to make and this studio is a functional structure for letting that stuff happen, not an end in itself!

So this is what’s happening right now:

… getting ready to re-print these guys which have been my bread-n-butter in terms of what people want to spend money on around these parts; all five colors of the first printing are now pretty much all gone! Tuesday I got struck down by some sickness (cold & fever?), tried to fight it, Wednesday didn’t get much done besides a long bicycle errand, today gave in & spaced out & made good food & napped all day, taking care of the sickness which was making me immobile & useless… Then mixed some colors tonight, as seen in the photo. I’m trying to get just a couple of the second edition of these Industrial Trust Buildings printed before the RISD street art sale which is happening on Saturday October 6th, very very soon!

Also listening to a live Work/Death set consisting of Scott putting a bunch of random metal items on a crappy old turntable & recording its rotation. Ambient aluminum rustlings. Lovely.

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