This is how I have decided to make my imagery available now: I hand print as far as the “bon a tirer” stage (my best proof) and then, instead of handing that prototype to an in-house assistant to print, I collaborate with two master printers in Vermont, Cone Editions in East Topsham or Northlight Editions in White River Junction, who use high-quality archival pigment printers such as Epson. At this point, it is possible to “fine tune” the image so that what you see is precisely what I envisioned. In a few instances, the prototype is collage or painting.

I love designing and cutting and proofing relief prints whether on wood, linoleum or MDF board. The process creates a look that suits my style. However, it is no longer necessary to hand-pull editions; archival pigment technology is simply better. Each print is exactly what I want you to see. From my eyes and heart to yours. And archival pigment prints can be made on sturdier, whiter paper that doesn’t ripple, using light-resistant inks that don’t fade.

My pencil signature is your guarantee of the originality of the image. For a while, I added a hand “chop” to archival pigment prints because once under glass, they are indistinguishable from woodcut or linocut. This proved more confusing than helpful.

If you are sentimental about the hand-pulled print, perhaps this analogy helps: would you request an operation with old technology or would you ask the surgeon to use the technology suited for the best outcome?

Some older titles are still available as relief prints. On the description page for each print, you will see a column for Medium that will indicate “Archival Pigment” or “Woodcut on Japanese Paper.”

Thanks for your attention and happy collecting,

Sabra