Documentary segment about Peaceable Kingdom

mm. Mhm. How does it look to you john well the color is absorbed so much in it? I can't some of them are still open because there's so many fine dozens? Oh, jim. Did you type? Did you put more pressure on that side? What is it?

Well the print is finished john what do you think of it? Are you satisfied with the way it came out? Yeah. It's very exciting for for me to see it. And also to the printer and I we both I feel very happy because it's kind of

like a development in in our work. It's there's a sense accomplishment. Excuse me. Jim. I just want to make an aside here. I think this one is where it got too dark. I think we should put that aside for a proof and maybe use dark red.

Maybe put it aside or because as we were printing this color it's part of this became darker and then we lighten it up. So noticing these kind of variations as part of the process of curating the print. Right, checking to make sure that it's correct. So

not only are you signing and numbering these, you're also giving them a careful once over Both. Both printers. Jim and Sandy have looked very carefully. They looked in the front and the back. They made sure. So then what I'm doing is I'm going just a little

check afterwards but it's already gone through careful scrutiny by jim and Sandy. And then I'm also trying to have a to make sure there's no small mistakes or colors that were off. Did everything go more or less as you as you foresaw it would in in

terms of printing this work, were there any unforeseen problems? Well in every work every artwork has its problems. And as I do them, I think well I've got printed so many times that I would have a solution that I wouldn't have any problems. But each artwork

has its own special demands. And I think that that it was exciting meeting. And I think that's what makes the challenge of printing and artwork important for the printer and for the artists that collaborates with. And I think there was a lot, there was excitement, there's

a lot of hard, tedious work but there's also excitement as it develops and keeps growing and you get totally absorbed and focus on it. And so I think that I don't know, I mean I didn't know how it was going to turn out and but I'm

pleased with the results. You know it I mean one can hardly tell sometimes you want it to be different. But then in the long run it always turns out okay we're working with the oil colors that pose any special difficulties or did it actually make things

easier? I think it was harder sometimes to mix and get the right color that we wanted. Sometimes some of the colors that weren't able to give us the glazes that transparent nous that we wanted. But it seems like we were always adaptable. And I think that's

exciting when you're doing the print is that you have to always be adaptable and see how to make the best out of the problems as we encounter them. How to make the best. You know, whether whether we had to modify or just realign or maybe stop

the printing and rethink it. But it was always a challenge. I think that's why it's important this kind of printing because there's a lot of creative thinking and effort for both the printer and the artist and it gives the artist a chance to collaborate and and

extend himself more working with someone else, especially as jim is an artist and also a very proficient printmaker that it's helped a lot to work with someone because it's both our imaginations working together and it's helped to make them work. And this is probably very excited.

It's probably one of my best works today. You know, just the things that the results are really beautiful and jim as a printmaker, were there any special problems you had on this? Well, the oil colors do take a long time to dry and in one case

we did have to wait seven days for a particular color to dry? That's quite a chunk of time out of the printing schedule. But during that time we were able to do more. We did other color separations and kept ourselves busy on the project during that

time period. But you never know exactly what point the color will dry. And every day we came in with a little prayer, hoping it would be dry. And finally it did. But you think the results are worth that sort of thing. The quality of the printing

is much better with the oil colors, much better detail and resolution. Any final thoughts on it? Well, I think it's one of the best projects that I've been involved with and so both john and I are very excited about. It's a really lovely piece johN any

final thoughts? Final thought is that that what will be the most exciting is seeing how people respond to it and the, the ideas and the way people relate to it, It's going to be important for me, although I'm pleased. But the other part is how the

response, you know, we're so close to it that we try not to be so lost that we lose our objectivity, but it will be exciting to see how other people see respond to it in their first encounter. One thing is that we find that both jim

and I find is that we start looking at it and it's so complex and so layered with so many colors that one keeps drawn into it. It's not like you can just give it a cursory glance for me anyway, I keep looking at all the layers

of colors and the depth that it has, like each figure, we've added so many colors, even the grass is there's so many colors that we've combined in order to make a real a lot of nuance and subtleties. And so that one can keep looking at each

little tiny area and you can see lots of details and lots of range of colors. It's like an impressionist or pointillist painting and it keeps on pulling you in to look at it into into wonder at the light and dark and the beautiful um pigment pigmentation

of it. And it changes of course in the type of light. Like right now we're looking at it with fluorescent but in the out light, in the outside light, the sunlight, it's real brilliant and it just shines and glows. And so that's my final that's what

I'd like to get help people to appreciate it.