Disco Biscuits Boston 07 Pollock

[walterfredo]

it's the same

[quiksilvr22]

nice. thanks for the heads up.

[weyistrilson]

Man, I hope they use kraft paper and actual tubes this time.

:::::::fingers crossed:::::::

[walterfredo]

Man, I hope they use kraft paper and actual tubes this time.

:::::::fingers crossed:::::::

actual tubes? What did the mail prints out with in the past?

[ldiddy]

Like, four tapped pieces of cardboard. Mine NYE got refunded. I'd imagine they've fixed the error now though. Fingers crossed.

[Grateful69Phish]

Man, am I glad I didnt ebay this..........!!

Thanks EB- I really wanted this but couldnt pay the flipper rate.

[morst]

Though originally intended on being a bookbinding press, Stonehenge stock run, once Jim started working with the pulpy, cotten fiber of the Stonehenge paper, he quickly noticed the pigments of the glow-in-the-dark ink were not setting properly and would flake off too easily. In anticipation of losing all his hard work put into creating the glow-in-the-dark layers, he was forced to switch to Living Tree stock and for strength and overall evenness of the impressions, he's utilizing the Washington Press instead of the bookbinding press. Keep in mind, the Washington Press IS STILL a hand-pressed production and Jim again was forced last minute to switch from the Stonehenge to Living Tree.

Jim has decided to use a fixative to secure Subscriber Only releases of this run so that the glow-in-the-dark pigment stays affixed to the posters. I will issue a caution and "How to Care for you Poster" to EB warning collectors to purchase an over the counter fixative at their local craft store to insure the glowing granular pigments stay intact on the stock.

In my opinion, those who keep these works flat or framed will likely be the pieces that increase in value as I imagine those pieces that are traded often, rolled and rolled from tubes or otherwise not cared for (using the recommended fixative) might discolor and will certainly flake away, leaving only properly cared for and Pollock's Subscriber issued, fixative sprayed, pieces remaining in the finest, most sought after condition. The decision to cure only Subscribers posters came late as the experimental nature of printing with linoleum blocks and glow in the dark inks was only discovered recently. Spraying fixative over 250 posters, not allowing proper drying time and immediately shipping them then stacked together to the show just didn't seem like a smart idea.

Very strange to have a situation where the artist recommends spraying a print with a non-reversible treatment in order to preserve it! I wonder if anyone trashed theirs trying to apply fixative?

[Grateful69Phish]

Though originally intended on being a bookbinding press, Stonehenge stock run, once Jim started working with the pulpy, cotten fiber of the Stonehenge paper, he quickly noticed the pigments of the glow-in-the-dark ink were not setting properly and would flake off too easily. In anticipation of losing all his hard work put into creating the glow-in-the-dark layers, he was forced to switch to Living Tree stock and for strength and overall evenness of the impressions, he's utilizing the Washington Press instead of the bookbinding press. Keep in mind, the Washington Press IS STILL a hand-pressed production and Jim again was forced last minute to switch from the Stonehenge to Living Tree.

Jim has decided to use a fixative to secure Subscriber Only releases of this run so that the glow-in-the-dark pigment stays affixed to the posters. I will issue a caution and "How to Care for you Poster" to EB warning collectors to purchase an over the counter fixative at their local craft store to insure the glowing granular pigments stay intact on the stock.

In my opinion, those who keep these works flat or framed will likely be the pieces that increase in value as I imagine those pieces that are traded often, rolled and rolled from tubes or otherwise not cared for (using the recommended fixative) might discolor and will certainly flake away, leaving only properly cared for and Pollock's Subscriber issued, fixative sprayed, pieces remaining in the finest, most sought after condition. The decision to cure only Subscribers posters came late as the experimental nature of printing with linoleum blocks and glow in the dark inks was only discovered recently. Spraying fixative over 250 posters, not allowing proper drying time and immediately shipping them then stacked together to the show just didn't seem like a smart idea.

Very strange to have a situation where the artist recommends spraying a print with a non-reversible treatment in order to preserve it! I wonder if anyone trashed theirs trying to apply fixative?

Morst, your title and history reflect a wiseman..........

Do you have any experience with this? I flinched when I read it, for my lack of inexperience only visuailzes a print with spray runs in it ect.

Usually, applying stuff like this discolors too..................

No? Yes? Depends?

[arodri70]

for sale on pollockprints.com

[phriendlyone]

where?

[Grateful69Phish]

where?

Refresh your browser, theres a link to the disco biscuits site....

[walterfredo]

no, it's sold out.

[Grateful69Phish]

no, it's sold out.

I was surprised it lasted that long........... love it !!

[melttheguns]

Though originally intended on being a bookbinding press, Stonehenge stock run, once Jim started working with the pulpy, cotten fiber of the Stonehenge paper, he quickly noticed the pigments of the glow-in-the-dark ink were not setting properly and would flake off too easily. In anticipation of losing all his hard work put into creating the glow-in-the-dark layers, he was forced to switch to Living Tree stock and for strength and overall evenness of the impressions, he's utilizing the Washington Press instead of the bookbinding press. Keep in mind, the Washington Press IS STILL a hand-pressed production and Jim again was forced last minute to switch from the Stonehenge to Living Tree.

Jim has decided to use a fixative to secure Subscriber Only releases of this run so that the glow-in-the-dark pigment stays affixed to the posters. I will issue a caution and "How to Care for you Poster" to EB warning collectors to purchase an over the counter fixative at their local craft store to insure the glowing granular pigments stay intact on the stock.

In my opinion, those who keep these works flat or framed will likely be the pieces that increase in value as I imagine those pieces that are traded often, rolled and rolled from tubes or otherwise not cared for (using the recommended fixative) might discolor and will certainly flake away, leaving only properly cared for and Pollock's Subscriber issued, fixative sprayed, pieces remaining in the finest, most sought after condition. The decision to cure only Subscribers posters came late as the experimental nature of printing with linoleum blocks and glow in the dark inks was only discovered recently. Spraying fixative over 250 posters, not allowing proper drying time and immediately shipping them then stacked together to the show just didn't seem like a smart idea.

Very strange to have a situation where the artist recommends spraying a print with a non-reversible treatment in order to preserve it! I wonder if anyone trashed theirs trying to apply fixative?

Morst, your title and history reflect a wiseman..........

Do you have any experience with this? I flinched when I read it, for my lack of inexperience only visuailzes a print with spray runs in it ect.

Usually, applying stuff like this discolors too..................

No? Yes? Depends?

http://www.pollockposters.com/forum/ind ... rdseen#new

[postartproductions]

This was never for sale on PollockPrints.com. PollockPrints.com was advertising the Disco Biscuits sale on their website.

The fixative preservation is optional and honestly depends on if you're intending on keeping it and/or being kind to the next person receiving it by preserving the art for others to enjoy for years to come. It's simply a matter of short term VS long term appreciation. Frankly, in this particular instance, it defines the difference between keeping the art alive for others to enjoy for years to come or actually being worried about damaging the print due to not protecting it properly and worrying about how this will effect an immediate flip. Interesting duality actually.

It is no different if Pollock applied the fixative or collectors applied it - as long as the print is preserved soon. I'd compare it to someone using UV glass to frame a print and someone who didn't ... 10 years later they both decide to break em out of the frame and go to sell em. One may have yellowed or otherwise discolored. The ink could've flaked or chipped a bit if not properly cared for whereas the properly protected UV print glass framed print may be more collectible in years to come. For that matter, all older water-based ink prints Pollock created previously could've originally benefitted from fixative as the old water based ink will definitely faded and turn to dust eventually.

Dye ink is water-based and glow in the dark pigment ink is an oil-base. Jim used to use Speedball Water-Based Block Printing inks for his 1998-2004 prints but then when he began pressing the envelope and using more than two colors in his work he realized he could achieve better transparency blends using oil-based which fortunately also increases the longevity of the prints.

Though the glow in the dark ink is an oil based product, it's essentially granular and was applied through hand mixing a paste using glowing pigments, linseed oil and blockprinting medium. It was then rolled onto a linoleum block and mashed it to a sheet of 80# stock under the pressure of an archaic cast iron bookbinding press. Given the process and medium used to create it, it's going to eventually flake off or begin to crack or chip.

Fixative will extend the life of your glow-in-the-dark prints, insuring the gleaming granular pigments stay intact on the stock.

10 Steps on How to Apply Fixative:

1.) Select a high quality product.
2.) Select a well-ventilated location away from other people. Fixative spray is toxic, possibly carcinogenic, and flammable. A respirator mask is advisable.
3.) Place newspaper underneath the print to be sprayed. Prop the print up on an angle so you're not spraying it flat, directly from above.
4.) Flick away any large loose particles and dust using a soft brush.
5.) Standing about 3 or 4 feet away from the print, spray in smooth continuous strokes, going a little past the edge of the stock, ensuring that the next stroke down meets the previous one. The spray should be a light mist on the print, not rain!
6.) Allow the print to dry. This shouldn't take long, unless you have over saturated the stock.
7.) Apply a second coat, working in a vertical motion this time, and allow to dry.
8.) Inspect the print carefully and ensure you are happy with the results.
9.) Experiment creating sweeping motions of fixative dustings on a test piece of paper or newsprint. Make sure you achieve good results before using fixative on your print.
10.) Turn the can of fixative upside down and spray briefly to clear the nozzle. Replace cap and store out of reach of children.