Graphic Chemical & Ink Company is a world leader in the fine art field of printmaking. We manufacture our own time-tested inks for etching, litho and relief printing, as well as sell screen print inks, papers, tools, chemistry, plates and supplies for all of a printmaker's needs
About Me
Name: Dean Clark
Location: Villa Park, Illinois, United States
I have worked for Graphic Chemical & Ink Company since 1968 - with a brief hiatus(almost 4 years) to travel the World courtesy of my uncle. Sadly it was my Uncle Sam, and I wasn't too thrilled about the places that he chose to send me.
My wife and I have run Graphic Chemical for many years, and have enjoyed the travel that comes with the position. We get to meet our customers (and the occasional vendor) from all over the World
When we first came out with inks in cartridges, there were some spiffy caps that insured he the ink in the nozzle didn't dry out too fast. There were two problems with them, however. They didn't fit very well, so they were constantly getting lost, and we had to order huge numbers of them from the manufacturer.
They resolved both problems quite easily - they stopped making the product. While it wasn't a resolution that we would have chosen, it did allow us (or is it "force us"?) to begin a search for a better product. After years of searching and coming up dry, I stumbled across a perfect solution, shown above. Called a Caulk Saver, it can be used to a.) puncture the seal on a fresh cartridge, and b.) plug the end to help insure that the ink doesn't dry out between uses. After the seal is punctured, you can trim this off to better fit the cartridge if you like.
If you are a fan of Graphic Chemical on Facebook (http://www.facebook.com/pages/Graphic-Chemical-Ink-Company/198706769147), you will probably have seen this puppy recently. It sells for around $1.00.
I have mentioned from time to time that I am at best, challenged when it comes to technology. Frankly, that's giving me the benefit of an enormous doubt, but hey, it's my blog afterall!
I have just recently become aware of social networks like Facebook and Inkteraction. Somehow I find it weird to have to write to someone and ask them to be my friend. It kind of takes me back to first grade (I didn't go to Kindergarten because in the tiny town that I grew up in, only the private school had Kindergarten).
The social networks are humbling to say the least. I like to think that everybody knows Graphic Chemical & Ink Company and, by extension, me. That just ain't the case! Every once in a while, a friend request comes back with a message along the lines of, " who in the world are you?"
I recently returned from a trip that was mostly vacation. Vacations in the Clark family are trips where you see fewer customers than usual, but always find some printmakers. I was lucky enough to run into an art fair at our hotel, the day we left. Most of the art was made of local crafts...very well made, but for the most part, not my style. There was one artist, however, that had some truly amazing woodcuts. We had an opportunity to chat for a few minutes about her work...and of course, I saw it as an opportunity to suggest that we knew a little something about inks and papers as well.
Her artwork was truly incredible, but what most impressed me (or maybe it was depressed me) was that not only that she didn't know anything about Graphic Chemical, but that she was buying someone else's ink from one of our distributors.
So, we've still got a long way to go. But, for those of you who have heard of us (and I assume that means anyone reading this blog), I have a suggestion that should benefit you in the long run. Go to the following address: http://www.facebook.com/pages/Graphic-Chemical-Ink-Company/198706769147?v=wall and become a fan of Graphic Chemical & Ink Company.
We've had a great response so far, and hope that it will continue. Fans of GC&I will be eligible for special offers (there's one in place right now!) and more.
Murray State University student Stacey Reason received a fellowship to curate a national juried exhibition of student (undergrad & grad) work related to art as activism. More information can be found at the project website (below). If you are a student making work related to activism and social change, please enter. If you teach, please encourage students to enter. There is no entry fee!!
If you have questions, please contact Stacey directly. Her contact info can be found here:
The Master of Fine Arts (MFA) in Printmaking at Illinois State University (ISU) is a professional degree program consisting of sixty hours and it emphasizes both theory and practice in the production, history, and teaching of the visual arts. Participation in internship or apprenticeship experience is expected, and the exhibition and demonstration of the student’s competency and intellectual maturity are requirements for graduation. A written project and an oral examination of the intellectual implications of the candidate’s work are also required.
A typical program of sixty hours of graduate work beyond the bachelor’s degree will include courses in the studio arts, art history, internship / apprenticeship, electives and culminating experience (comprehensive exhibition of studio work, oral examination, and written project).
PHILOSOPHY
Candidates will be expected to demonstrate artistic proficiency in printmaking as they are encouraged to explore conceptual directions in the other media. In addition to the students’ concentration in printmaking, a broad range of technical and aesthetic criticism is provided by faculty members in the two-dimensional area of the School of Art. Expertise in printmaking, drawing, painting, photography, and video is provided by this area, which coordinates its efforts with the four other areas in the School (3-D [sculpture, glass, metal, clay, wood], Graphic Design, Art History [including Visual Culture], and Art Education).
The printmaking faculty is committed to individual artistic development and we direct our teaching methodology toward nurturing artists who learn to explore personal experiences, studies, and directions in their work. The faculty believes in providing a facility, an environment, and experiences that will encourage the student’s artistic development. The faculty strives to maintain a professional atmosphere in the organization and maintenance of the studios.
Visiting artists with diverse artistic backgrounds interact with the students through individual and group critiques, lectures, demonstrations, publishing, and research print projects. Visiting artist programs provide continuing interchange between the disciplines in the School of Art at ISU.
FACILITIES
The intaglio studio is approximately 2,500 square feet in size. There are a 36" × 62" Brand etching press, a 16" × 30" Brand etching press, a 25" × 48" Takach etching press, an 18" × 36" Takach etching press, and a 43" × 84" Takach etching press. There are complete etching and aquatint facilities, adequate storage, and several glass-covered printing stations built into the shop. Substantial space and equipment, including a good selection of large rollers, are provided for experimental work as well as traditional approaches. The studio is equipped for copper and zinc etching, photo etching (using solar plates and Image-on film), monotype, and relief printing.
The lithography studio is approximately 2,500 square feet in size. There are a 36" × 60" Brand lithography press and two 34" × 60" Takach lithography presses, all with counter-weighted tympans for proofing and editioning. There are nearly two hundred lithographic stones available, ranging in sizes from 9" × 12" to 30" × 40". There is a 4' × 18' graining sink and six levigators. There are two stone / aluminum plate processing tables in the press room and another in the ventilation / exposure room. There are small and large diameter rollers, leather rollers, lightweight Takach platebases (30" × 40") and a wide variety of color inks available. Negative and positive working photo-litho plates are used. There is a special room for ventilating fumes during processing, which also includes an enlarger and a 33" × 42 ½" Nu Arc vacuum frame.
There is a complete letterpress facility with an electric Vandercook press, housed in its own room for student use. It is capable of printing 18" × 24" with type in a variety of styles and sizes available. The print area is currently developing its own computer facility and has an Epson Stylus Pro 3800 printer (which accommodates paper 17” wide) and an Epson Expression 10000 XL scanner (with a 12” X 17” bed) for graduate use. There is an additional computer facility just down the hall, which includes state of the art computers and software. There are black and white and color printers, 11" × 17".
The GraduateStudioBuilding is off campus, and it was created for all of the MFA students in the School of Art. This space has electric tools, a wood shop, and two large rooms set aside for installations and critique spaces. This situation allows the 2D and 3D students to interact with each other and the faculty.
The gallery space in the School of Art is unique. There are specially curated exhibitions by the director, Barry Blinderman and his staff, usually in Gallery I—the main gallery. Every other year there is a graduate exhibition in that space. The alternate year is the faculty exhibition. Every spring, Gallery I showcases the annual all student exhibition, and Galleries II and III have many student exhibitions during the year. All BFA and MFA students have one-person exhibitions to complete their degree requirements. An annual student exhibition in the spring calls for entries from all students in the studio and graphic design areas, with works selected by nationally known guest jurors.
There are other opportunities to exhibit in the community as well. The McLeanCountyArtsCenter and the Transpace Gallery (the latter is exclusive to ISU students) have regularly scheduled exhibitions. Also, IllinoisWesleyanUniversity has a gallery and guest artists.
There are numerous major universities in the area. Chicago and St. Louis are about 2 ½ hours away and there are group trips arranged for special exhibitions.
NORMAL EDITIONS WORKSHOP:
PUBLISHING AND RESEARCH IN PRINTMAKING
The Normal Editions Workshop (NEW) is a non-profit printmaking workshop and research facility founded in IllinoisStateUniversity in September 1976. This is an enrichment program for the education of our students. It augments the educational goals of the University and:
1.provides students an opportunity to work with and observe visiting artists within a professional workshop situation;
2.provides works of art for study collections and traveling exhibitions to promote visual dialogue among a variety of audiences;
3.provides custom printing services for artists throughout the United States (Kiki Smith, David Wojnarowicz, Arturo Herrera, Julia Fish, Sidney Goodman, KeithJacobshagen, Donald Lipski, Dennis Oppenheim, Richard Rezac, John Himmelfarb, Hector Duarte, Rodney Carswell, and others);
4.provides advanced printmaking students the opportunity to participate in the NEW special projects class in addition to the Graduate Assistantship for NEW.
NEW has a 34" × 60" Takach motorized lithography press, preparation and printing areas, office space, print storage files, and a general work area.
NEW staff and student interns assist with the organization of the printmaking area’s annual print sale and exhibition, which includes prints by students and faculty in the School of Art. Faculty and student participation—and community involvement—are key elements in the ongoing success of the event. Most of the sales, which can total $5,000 or more, are paid to the artists / participants and some of the proceeds are donated to the program.
CURRENT FACULTY AND STAFF
Richard D. Finch, Professor of Art (teaches drawing) and Director of NEW
MFA, Southern IllinoisUniversity at Edwardsville, 1976
National Endowment for the Arts Artists’ Fellowship (1983-84)
Illinois Arts Council: Co-Director Program Grants (FY97-10)
Illinois Arts Council: Artist Fellowship / Finalist Award (1993)
Veda Rives, Associate Director of NEW
MA, IllinoisStateUniversity, 1992
BFA, IllinoisWesleyanUniversity, 1981
Illinois Arts Council: Co-Director Program Grants (FY97-10)
Sarah Smelser, Associate Professor of Art (teaches intaglio)
MFA, University of Iowa, 1997
MA, University of Iowa, 1996
Mid-America Print Council President (2006-08)
Tim Van Ginkel, Visiting Assistant Professor (teaches lithography)
MA, University of Iowa, 2007
MFA, University of Iowa, 2008
GRADUATE ASSISTANTSHIPS, SCHOLARSHIPS, WORK STUDIES, AND TUITION WAIVERS
A limited number of graduate assistantships are available in the printmaking area and in other areas of the School of Art. Graduate assistants maintain the printmaking studios and assist in teaching introductory courses in printmaking.Currently, the assistantship includes a stipend of $850/month plus a full tuition waiver. In addition, a limited amount of work-study funding is available for qualified applicants.
Scholarships and talent grants in the School of Art, which can total $65,000-$85,000 per year, are awarded to graduate and undergraduate students who exemplify the highest artistic and scholastic achievements. These scholarships and grants are awarded in the spring during the ISU Student Annual exhibition. The NEW Scholarship for outstanding artistic ability and performance in printmaking—based on portfolio review—is awarded also at that time.
ADMISSION PROCEDURE
Applicants should contact the GraduateSchool for admission procedures and requirements. Access information on the web at: http://www.ilstu.edu and http://www.cfa.ilstu.edu/art/mfa. Email: gradart@ilstu.edu.
Address correspondence to:
The GraduateSchool
Campus Box 4040
Hovey 309
IllinoisStateUniversity
Normal, IL61790-4040
Telephone (309) 438-2583
Specific inquiries related to the MFA in printmaking can be directed to:
Richard D. Finch(309) 438-7530rdfinch@ilstu.edu
Veda Rives(309) 438-7530vrives@ilstu.edu
Sarah Smelser(309) 438-8535ssmelse@ilstu.edu
Tim Van Ginkel(309) 438-7837tvangin@ilstu.edu
Becky Fisher, School of Art(309) 438-2728gradart@ilstu.edu
2009 has been quite a year, and while it's not over yet, I feel compelled to at least begin a retrospective.
Susan and I have been traveling more than usual, and some of it was actually vacation for a change. It's not that we're workaholics, but in this industry, it's almost impossible to travel somewhere without running into printmakers, usually without trying too hard.
January saw a last minute trip with friends to Orlando - and no, we didn't go to Disney World. Our friends are avid golfers and saw Orlando as heaven on earth. I, personally, think that golf is a four letter word. I was impressed with the fact that even the golf carts have GPS's on them. It's sad that my golf balls didn't have one too. Later in the month, we were off to Frankfurt, Germany for the Paperworld show. This is likely the largest art materials show in the world, coupled with a larger office supply show, a beauty show and a Christmas show...it's just huge. We managed to find several new products which you will (or in some cases, already have) find very interesting. New products include two lines of brayers from England along with several safety supplies, and a remarkable 3 in 1 tool set that serves as a plastic baren, cutting tool set, and hand stamper.
March brought the Southern Graphics Council show in Chicago, which had the best attendance of any SGC show ever.
May represnted a personal milestone, but one which many of you are probably grateful for. I decided to retire from the Illinois State Board of Education after almost 6 1/2 years. Served with three Governors (1 in jail, 1 headed that way, and 1 still with a clean reputation), three State Superintendents and 16 different colleagues on the Board.
Never one to let too much grass grow under my feet, I have already added two activities to fill the gap. I agreed to be appointed by the current Governor to the Education Funding Advisory Board, a board I served on from 2000-2003, and I have agreed to serve on the Midwest Regional Board for a non-profit group called Recording for the Blind and Dyslexic.
It's just never dull around here. September took us back to the IMPACT show in Bristol, England. This was the 6th show that they've had, and we've attended 5. In two years we'll be in Melbourne, Australia and two years after that it looks like Dundee, Scotland is slated for IMPACT 8.
The Fall has been busy for the family with weddings (my niece), births (nephew's wife) and a trip around the World (another nephew) We've got one more trip planned for November, and then by golly, we're staying home - at least for a little while.
Oh, I almost forgot the picture at the top. That's my youngest grandson, Noah. This fearless mountain climber got up on the counters in Mom & Dad's kitchen, got into the cinnamon, and then posed for the picture!
What a show, you should have been there! IMPACT 6 was everything that we expected and more. The attendance was pegged at 410 artists and about a dozen vendors, over the two days of the Product Fair.
To add to the excitement, it was the weekend that students arrived on campus at the University of the West of England (UWE). "Fresher" events were numerous for the first year students. The City of Bristol, has undergone numerous changes in the 10 years since we last visited. It's a very vibrant modern city clothed in a medieval architecture.
We were fortunate enough to visit our good friends from Caligo on Friday evening. Joining us for a truly wonderful evening were representatives from our two UK distributors (T.N. Lawrence and Intaglio Printmaker) and family and staff of the gang at Caligo.
During the show, we introduced some stunning new German brayers that were really a hit with the artists at the show. We're still awaiting delivery to our shop, but we sold several in Bristol from the manufacturer's stock.
We also had an opportunity to travel for the first time to Scotland. One of the highlights was visiting with our friends Robert Adam and Carol Robertson, co-authors of two very successful books on printmaking: Screenprintingand Intaglio. These books are the definitive sources on some of the new less toxic printmaking techniques. We spent two days in the Edinburgh area followed by a day in Glasgow touring the brand new GlasgowPrintmakers Co-op facilities and those at the Glasgow College of Art. What great facilities and staff that were generous with their time and proud of the places they work.
All in all, we had a very successful show and can't wait for Impact 7 in Melbourne, Australia - you should join us.
Purpose of post: To provide technical support and advise to all workshop members and work closely in collaboration with visiting artists in all areas of printmaking. To manage, maintain and develop the Workshop area with particular attention to Health & Safety legislation. To edition artists work through the expansion of the BPW editioning service. To assist in widening the workshop international reputation through exhibitions, residencies and opportunities for artists. And to manage the BPW archive of prints.
Salary: £20,000 Details from www.belfastprintworkshop.org.uk Deadline 25th September 2009 4pm
Workshop Director Maternity Cover (Secondments considered) Purpose of post: Maintain BPW programme for 2010, manage staff and volunteers, budget and finances, project manage activities, monitor the BPW Gallery, assist in fundraising and the ability to maintain/build on BPW reputation and programme.
Salary: £25,000-28,000 based on experience 6 months initial contract with possible extension Details from www.belfastprintworkshop.org.uk Deadline 25th September 2009 4pm
Administration Assistant Purpose of post: To assist the Belfast Print Workshop Director in administration duties to include finances, income & expenditure management, invoicing systems, stock control, report writing, research, evaluation and data management. An assist in exhibition preparation. 8 hours per week - in the first instance with possible extension throughout the year for specific activities. Flexible working hours available. Salary £7/hr Details: www.belfastprintworkshop.org.uk Deadline 18th September 2009 4pm (Belfast Print Workshop is an equal opportunities employer and welcomes applications from all sections of the community)
See more details and RSVP on INKTERACTION!: http://inkteraction.ning.com/events/event/show?id=2282011%3AEvent%3A152357&xgi=1V2zNV4YBxnFmc
2010 Artist-In-Residence ApplicationAs a courtesy to our good friends at Anchor Graphics, I am posting their recent e-mail in it's entirety. This program has been very well accepted and appreciated in recent years.
Anchor Graphics at Columbia College Chicago
2010 Artist-In-Residence Application
Deadline: October 18, 2009
Each year Anchor Graphics welcomes 6 Artists-In-Residence into our printshop for 3 week residencies. This program is offered to artists who are proficient in printmaking and who want an uninterrupted stretch of time to develop a body of print-based work. Anchor will provide residents with basic materials, shop access, the technical assistance of our master printers, editioning assistance from our interns, and a small honorarium. In exchange, resident artists are expected to interact with students in Anchor Graphics and Columbia College printmaking classes, present a public lecture on their work, and donate a few prints created during their residency to the Anchor Graphics archives. This program was started as a service to emerging and established artists who have demonstrated a strong interest in printmaking and might not otherwise have regular access to professional presses and equipment. It is open to all experienced printmakers including those living in the Chicago area.
Please note: Anchor Graphics' ability to provide housing and the amount of honorariums is dependent on a constantly changing funding situation and may vary from year to year. Anchor Graphics does not cover travel expenses.
To apply please email:
-10 digital images (please send JPEGs, no Power Point presentations or PDFs, and make sure your images can be opened on a Mac.)
-image list
-curriculum vitae (with contact info: email, phone number, and mailing address)
-artist's statement
-a brief narrative about the project you will be working on during your residency
Applications for 2010 residencies must be received by midnight on October 18, 2009.
A review committee will select artist in November. Notifications will be set out through email in December.
James Iannaccone
Assistant to the Director
Anchor Graphics at Columbia College Chicago
623 S. Wabash Ave., Room 201
Chicago, IL 60605
312-369-6864
www.colum.edu/anchorgraphics
Wow! I am so rarely stunned into silence, but they got to me today. The phone call started out like the possible solution to a problem that has plagued us for several years. This nice young man was willing, for a fee, to insure top of the page placement on internet searches for Graphic Chemical. We know that we are a world leader in printmaking supplies, and probably the majority of printmakers in the US do too.
Internationally, printmakers recognize our name as a manufacturer of inks etc, but they tend to purchase from local distributors. In order to grow our business, the internet exposure seemed like just the ticket. Then reality reared its ugly head.
I sent the list of key words off to this nice young man named Joe. The list was kind of a no-brainer, terms like:
Japanese paper printmaking supplies paper handmade paper specialty paperink rollers printmaking paper plastic plates screen printing ink etching ink Graphic Chemical Stones Crayons hand made paper intaglio litho plates litho stones collograph zinc plates copper plates Speedball Akua Kolor Akua Intaglio Charbonnel etching tools ImagOn Film
and so on. We could have come up with a hundred words easily. The problem is that the cost involved with this was along the lines of the cost of another employee! Here's the rub... if I do that we'll get great placement for whatever period of time we choose. As a lawyer friend of mine once told me, he defends his clients until their last dime. Joe would have pushed our placements right up to my last dime. Well, guess who ends up paying for our indulgence? That's right ....you do! Don't worry we won't go that route, we'll have to find a better way to let our customers know what a great deal we can offer them. Any suggestions?
When we first came out with inks in cartridges, there were some spiffy caps that insured he the ink in the nozzle didn't dry out too fast. There were two problems with them, however. They didn't fit very well, so they were constantly getting lost, and we had to order huge numbers of them from the manufacturer.
