Printing Your Editions
Lesson 29 from: The Art and Business of Conceptual PortraitureJennifer Thoreson
Printing Your Editions
Lesson 29 from: The Art and Business of Conceptual PortraitureJennifer Thoreson
Lessons
Day 1
1Conceptual Meaning and Inspiration
20:56 2How to Get Started
10:18 3Breaking Down Your Own Experiences
15:00 4Experimenting with Homemade Materials and Spaces
15:03 5Testament Series
16:35 6Conceptualizing a Body of Work
11:30 7Concept Origin
31:42Thinking in Layers
13:31 9Writing an Artist Statement
09:41 10Commissioned Work vs. Fine Art
06:48 11Creating a Visual Vocabulary
10:40 12Preparing a Conceptual Beauty Shoot
08:23 13Preparing the Model
18:23 14Shooting a Conceptual Beauty Shoot
16:15 15Shooting a Conceptual Beauty Shoot Part 2
17:04 16Conceptual Beauty Shoot Questions
06:19 17Conceptual Domestic Shoot Prep
07:13 18Conceptual Domestic Shoot Part 1
25:51 19Conceptual Domestic Shoot Part 2
08:40 20Conceptual Domestic Shoot Part 3
30:19Day 2
21Submitting Work to Galleries
15:34 22Submitting Work to Publications
21:52 23How to Submit Work
06:51 24Writing a CV or a Bio
08:35 25Writing a Grant Proposal
12:57 26Artist Residencies
09:33 27Portfolio Reviews
20:49 28Pricing, Edition and Signing your Work
14:50 29Printing Your Editions
06:46 30Working with Galleries
14:16 31Building an Audience
04:56 32Preparing for an Exhibition and Final Thoughts
04:30 33Making a Living
06:38 34Conceptual Shoot with Family
1:27:00 35Conceptual Shoot with Male Model
58:17 36Post-Processing Conceptual Shoots
25:00Lesson Info
Printing Your Editions
Let's talk about printing for a minute are you going to use a printer or and this goes back to your question to how many do you do it once or do you print them yourself when I'm doing my black and white stuff? I print it myself always because they're small and I can handle that you know I can print the whole edition myself and it's not it's not so bad when they get big though we're dealing with roll paper and stuff and I don't I don't enjoy that very much, but I do I mean, I print I printed all these, but when it comes time to start exhibiting the work and I've got shows three at a time somewhere I use a lab out of dallas will show you their name in a minute and I have them print one through five I send them a proof so I print this myself I send them guide prince and that's what these guys are so little smaller versions but big enough that they can see detail in there so they're about half scale and they matched them exactly is actually so of course it's the same paper and that loud I'...
ll tell you about they'll get the paper that you want and match it exactly they'll send me back guide print matches before they print the edition so when you go to reviewers are you showing them your artists proof our part or one of your addition know those get that's a great question I'm glad you asked there I just showed them what that call when I call proof prints and then they get torn up they get destroyed once the edition is released yeah, these in fact from testament are are rejected prints so no, I'll put that on the back so they don't actually get sold okay, so right are you gonna print it yourself? Maybe save yourself a little bit of money perhaps or you can use a lab to print maybe one three five of the entire edition so it's order depends on who we are and what you're doing if you're printing, if the printing is part of your process and really important the part like you're making ten types or black and white, then you need to print it yourself probably right that's an important part of the language of what you're saying, but maybe it's a digital print and the actual output is not as much part of the process is making the work was so that's just a personal decision you have to make uh when I'm printing, I mentioned this before, but along the way along the process I make myself prince improve prints so I have an idea what these things are gonna look like in a prince have you ever made an image and gotten to the point where you're printing it and it does not print well ouch! I mean out, especially if you spent three weeks making a sculpture and it doesn't print well. Okay, so I always make this size proof printing, you know, ten or twelve times during the process before I ever get to a final print and it's so important that you see it printed while you're working. So these are the papers I used I used a hunter mule bamboo for my black and white that's a gorgeous warm tone paper really beautiful. Um and then I used the cans and platt een for my color work. This is the most beautiful paper for color. Oh, my gosh. You guys have seen these prints in person when they have gorgeous natural saturation and beautiful tonal range. So I love this stuff, huh? You have those printed at you can request that paper. Yes, I can. You can either send on the paper or just have them source it for you. These are make myself, but they also would get the hand mule if I asked him to. So it's bwc printmakers in dallas, texas and they'll print for anybody all over the world they do in addition printing meaning you can ask him to print five at a time and the they'll charge you less for each print because they're printing so many so they'd be printing fifty prints for me right at that time so it sze cheaper for me to have him do the addition than one off um exhibition printing they'll print a whole show for you if you got a show of twelve prints they'll print the whole show for you and give you a better deal cut their printing twelve so definitely if you're going to get somebody to print your work for you have imprint in volume if you can afford to do that eventually we'll save you money and hopefully the prince gets old ok we talked about kind of preparing a portfolio really quickly about a digital portfolio and we kind of covered this already but you would want to have your artist's statement in a digital portfolio again the digital portfolio I send along with all my materials and everything when I send stuff to reviewers gallerist collector's stuff like that this is what I sent them so it's got the artist statement on the front uh my lead image and then um pdf from then on everything else in there so just keep that in mind that you're gonna want both and you're going to have a really nice looking clean, crisp digital version of the portfolio you went through the printing rather first technically for as far as I'm concerned because their color profiles is matching there is all that you do agree that with your penis first or how do you go about it? Because then it's got to look exactly how you want it by the time you get it so this isn't your kind of profile yes I first of all I print the guide print myself and I have to I know a lot about printing I have to no you have to become a master printer basically tb to make beautiful prints every little thing I showed you a print earlier that I rejected because of one little tiny highlight this guy this highlight on her back is just a tiny bit brassy just a little bit but it wasn't so I rejected the print just for that so you have to be a great printer but then you send that guide print to the lab and then they have to be a great printer and match what you've done and I don't care what profile they used long that's perfect I assume it's the right one but it has to be perfect and match mine exactly so that's the best without we can't get into all the printing techniques we just don't have time but the best answer I have kind of for that oh quickly in a digital portfolio you also want to include the title of the print on the bottom of your pdf print details so I include the type of paper s oh it's, a pigment ink print on cancer and palatine the size, because when they're looking at it digitally, they have no clue what size is supposed to be. And then the date. So you could see on the bottom soulmates, pigment, ink on fiber rag, sixteen by twenty inches, and I didn't put the date actually here, so they're naughty. What program do you use for your production of the of the pdf shop light room? What room? You can lay it out in a book format and then make a pdf right out of there.
Class Materials
Bonus Materials with RSVP
Bonus Materials with Purchase
Ratings and Reviews
a Creativelive Student
"Thinking about art is not making art." In this inspiring and informative workshop, Jennifer helps you put thought into action - through meaningful self-reflection, exploration and by taking her through her own processes. Through exercises and examples, she explains how to pull out a thread of an idea and develop it into a conceptual project that is informed and invigorated by personal experience, preference, interests, and so much more. Her workshop not only feeds the creative soul, but offers earnest information on taking first steps toward publishing and showing fine-art. Jen so beautifully shares her talent and her love of teaching - I first "met" her on Creative Live and have had the joy of being mentored by her in-person as well. This workshop is a very close second to spending time with her one-on-one. Thank you, CL, for bringing her back!
kalei harmon
I love Jennifer, she's one of my cL favorites! She is such a soulful photographer and her art just resonates with me in so many ways. While she was creating her conceptual piece with the mother and child, my eyes welled up because it was such a profound experience to witness. I appreciate that she has a graduate degree in art and is able to refer to others in the field who are leading the way. She is so genuine and I'm grateful for her willingness to bare her soul to us through her art and process. I've learned so much by watching how she interacts with models and communicates efficiently and gently to get AMAZING poses. Definitely worth the buy if you're looking for inspiration from an artist who creates images which evoke emotion and communicate a message, not just trying to make "great photos." I can't wait to learn about the business side of it all!
Majda
I am so grateful for this class; it is just what I have been looking for to help me go beyond my "photographic potty training". By leading us through her own creative process, Jennifer Thoreson invites us to think about why we do what we do and to make our work more meaningful and authentic, creating our unique visual vocabulary. Moreover, she provides detailed info on submitting work to galleries and publications, contests, printing editions, preparing an exhibition and pricing. In her calm, unpretentious manner, Jennifer demystified art without trivializing it and I finally saw light at the end of a rather long tunnel.
Student Work
Related Classes
Portrait Photography