Using a Commercial Steamroller to Print

The Cryptogram, 2010 woodcut 16"x 28"

It is that time of the year again at the(SFCB) San Francisco Center for the Book's annual Roadworks:Steamroller Prints street fair. I have participated for the past 3 years as an artist, and this year I was invited to be one of 18 contributing artists to produce a linocut for a portfolio of special prints with the theme of La Loteria. I am excited to be chosen, but the theme does not immediately appeal to me, so it will take some time to develop the right image. I must consider using a number as part of the SFCB requirements, and how it will look on the final piece. Coming off several new works of art, I decide I am going to enlarge a portion of the artwork titled "The Cryptogram" as inspiration.

Since I am developing an image for a theme, I have to be creative in the way I can apply my techniques, maintain consistency in the portfolio, and comply with the requirements. I have several new punches that I am continuing to use, and I am working on linoleum as wood will not support the weight of a commercial steamroller when printed.

The SFCB  Roadworks: Steamroller prints is exactly what it sounds like. A commercial steamroller is used as a press to print hundreds of artists work in the middle of the street. These prints are sold to benefit the SFCB. So just how do they do it? Well, here is a simple demo.....

9 lino plates are inked at one time

The lino plates are arranged in the middle of the street on a wood bed, and mylar with predetermined spaces for both plates and paper

close up of: San Francisco

The artworks are covered with paper

Blankets are used, just like a normal printing press to protect the paper

Finally, they fire up the steamroller and drive right over

The artwork is revealed to the onlooking public,..oohs and aahs follow...

The prints are left to dry and sold.

Thousands of people attend each year to watch

Prints for Loteria on the top row, and other various artists works on the bottom

My artwork has to conform to La Loteria, but I still have artistic license to work within my style. I have chosen “The Moon” as my title and the number 0(zero) to make use of the natural circle a punch makes. This way I can concede to the guidelines without destroying my artwork. I really like the idea that “The Moon” can be translated in many ways as the punches produce moon shapes, and the subject matter is a butt, otherwise know as a moon in slang terms. 

While working on the linoleum, I am aware that this block will only be printed in one color, so the punches are used to the best of their ability to show a direct light source. I do this by overlapping patterns the punches make. This work is very loud, with the hammer striking the metal punch, and the work moves slow, as my ears begin to ring after an hours worth of work. After 3 days i have something to print.

State 1: The Moon, 2010, 12"x12"

I am a little unhappy with the results; one, I made a punch at the very bottom between legs that I did not intend on doing, and two, I am uncertain an actual butt can be clearly deciphered. I continue to work for 3 more days adding small punch marks here and there until it looks like the butt is covered in diamond dust and glowing from the light of a full moon. It is RTP, or ready to print.

State 3 printed in dark blue: the finished image

It is time to turn in the lino-plate so it can be editioned, and sold with the portfolio or as an individual piece at the SFCB.

Each year I look forward to participating in this event as an artist, that brings relief printmaking to the public right on street.