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Original prints have an ancient history that began in eastern Asia in the first few centuries of the last millennium. During the Renaissance, in western Europe, the art of the print flourished in the studios of artists like Rembrandt. In the late nineteenth and early twentieth centuries, European and American artists like Daumier, James Abbot McNeil Whistler, Mary Cassatt, and Picasso, and almost the whole School of Paris, developed the art form further.

In the U. S., printmaking activity spread from New York City throughout the country in the late nineteenth and early twentieth centuries, laying the foundation for a “print boom” in the 1960’s. It was during this decade that the great print publishing workshops originated. They recruited many of the best contemporary artists in the country, and established a pattern of major artists working in the print medium. Because of these efforts, original prints--while they remained a secondary medium for most artists--reached an aesthetic, critical, historical, and economic status in their own right.

Collaboration is a major factor in the print world, today. Painters and sculptors, as well as printmakers, per se, work in close collaboration with master printers--artists themselves--who have decades of experience in the print shop. The five major processes are: intaglio, lithography, monotype, relief, and serigraphy. New processes are continually being invented by imaginative artists and master printers, and both photography and the digital revolution have impacted the print shops no less than the painting, sculpture, and trans-media studios. (Flatbed does not produce, in-house, Iris, Giclé, or other digital-output “prints.”)

About Printmaking   
Dating from the Middle Ages, "Intaglio" (from the Italian, "to incise") describes a family of printmaking processes, all of which involve a plate (usually metal) which has an image below its surface. This image has been engraved, scratched, or etched with diluted acids. The positive lines or pits are inked, the negative surface area is wiped clean, and the plate is then placed face-up on the press bed, with the damp paper on top of it, cushioned with felt blankets, and rolled between the press's cylinders under great pressure.

Only intaglio presses--which comprise a flat bed that passes between two rollers--are used for intaglio printmaking, which includes engraving, etching, dry-point engraving, aquatint, soft-ground etching, lift-ground etching, photo-etching, and gravure. Intaglio presses may also be used to print relief and monotype prints (which have their image on the surface of a block or plate).

About Printmaking Printing Processes Intaglio   
Dating from the nineteenth century, lithography is based on the antipathy between oil and water. Originally developed in Germany on Bavarian limestones, lithography was used first commercially, then as a fine-art process.

Using a black, grease-based, dry or wet medium, the artist renders the image on the flat, clean stone. A separate stone is required for each color desired. The image and stone are treated chemically to make the image area more receptive to oil-based inks, and the non-image areas more water-loving. The stone is then sponged wet, and rolled with the desired color of lithographic ink, in order to print each impression of each color. Additional colors will be similarly prepared on distinct stones, and printed in carefully-registered layers.

In recent decades, textured metal plates are often used in combination with, or in lieu of, the increasingly rare stones. For all original lithographs, a special lithographic press is required. It uses a lubricated scraper bar to impress the image on the paper.

About Printmaking Printing Processes Lithography   
Using thick printmaking inks and solvents, the artist paints directly onto an impermeable surface like Plexiglas. The resulting plate and image is then hand burnished or run through a press, essentially blotting up the single-original image. Multiple layers of monotyping on the same sheet of paper, "ghosts" (weak, second images), and repainted serial images are often printed, although monotypes exclude uniform multiple editions by definition.

The unique advantages of monotype are its instant accessibility to painters, its directness, its speed, its serial nature, and its distinct visual textures.

About Printmaking Printing Processes Monotype   
Using carving tools, the artist removes the area that is not to be printed, leaving the desired portions on the surface, just like a rubber stamp. A white-line relief is made by carving away the lines.

When the wood block or lino block, etc. is completed, thick relief ink is rolled onto the surface. Usually, a separate block is required for each color.

The paper is placed on the inked block, and either hand burnished or cranked through an intaglio or lithographic press. A vertical-action platen press can be used on small blocks. The unique advantages of relief are its physicality and thus its expressive qualities (especially the grain of wood blocks), the simplicity and inexpensiveness of its development and printing, its capacity for unusual papers, and the potentially thick impasto of its images.

About Printmaking Printing Processes Relief   
Serigraphy, also known as "silkscreen," or, "screenprint," is a stencil process. A stencil--paper or liquid--is applied--by hand, or photographically--by the artist to a taught, nylon screen. Viscous silkscreen ink is then squeegeed through the screen, depositing ink on the paper. A separate screen is required for each color desired.

The unique advantages of serigraphy are its easy accommodation of many colors, and its capacity for large editions. Serigraphy is the only print process not done currently on-site at Flatbed. When desired, Flatbed contracts with local serigraphers for this process.

About Printmaking Printing Processes Serigraphy   
Course Descriptions | Summer 2015



WORKSHOP: A weekend of making photopolymer gravures with visiting artists
Byron Brauchli and Scott Martin [bio]

October 22-23-24, 10am - 4pm

Join us for a wonderful opportunity to turn your photographs or images into stunning photopolymer gravures while learning the process from established, highly esteemed artists specializing in the medium. Additionally, students will learn calibration and profiling of alternative photographic processes, making this two workshops in one!

Byron is traveling to Flatbed Press from Veracruz, Mexico, and we are very excited to offer this special workshop in conjunction with his upcoming exhibition Encrucijadas (Oct 23- Dec 5).

Participants will learn how to produce print-ready transparencies using common ink jet printers. Byron and Scott will instruct students on how to use a free and easy-to-use software to print, in one easy step, transparencies that will beautifully reproduce images in warm gravure blacks, cyanotype blues, or in other alt-processes. Participants will create one to two plates and print a small edition. If time allows, more advanced printing techniques like chine collé or à la poupée will be covered.

Register for this workshop by emailing

Tuition: $700 (+ some materials cost)

Maximum Enrollment: 8

Image: Byron Brauchli, Road to Rancho Viejo


Enrollment for The Italian Intensive 2015, slated for September 20 – October 4, 2015, is now open.

Call Katherine at Flatbed Press to register and hold your place! Katherine Brimberry and Suzi Davidoff are artists and printmakers who have have collaborated on monotypes and etchings for over twelve years. Through working together they have discovered that the collaborative monotyping is, as Suzi puts it, "an incredibly intense, creatively-charged, energetic and really fun experience." At La Romita they want to share this experience with students and teach them to explore multi-run monotyping with layered trace drawings and stencils. “We believe that with these experiences each student will expand their creative vocabulary and also learn to work more in a more direct and spontaneous fashion, as well as learning to embrace the unexpected.” Students will also learn more about printmaking techniques, color theory, using water-based non-toxic ink, and a variety of drawing techniques.

Using a team-teaching model, Katherine and Suzi will work in collaboration with each student. The prints will integrate layers of color, texture, and line. Suzi will lead the students in drawing methods for monotypes including positive and negative trace drawings; Katherine will teach the students in other monotype techniques, object printing, stenciling with organic and cut materials, variegated color rolls, chine collé, viscosity resist relief rolls, and textural applications.

Suzi and Katherine expect that students will be able to successfully create a small body of finished monotypes at La Romita, but more importantly, will be able carry some other the concepts and approaches into their own art practice.

As always, La Romita will enchant newcomers and returning students alike by being the bit of heaven that it is: a peaceful place to work and play, the rich encounters with art and the town residents while daily exploring the hill country towns of Umbria, and of course, the food. La Romita is a "foodie" paradise with home-style Italian cooking that is anything but ordinary. Read more- and see pictures here!

Five hundred dollars will reserve your space in the workshop. Payments can be made during the year, but a the final payment of a total of $4,000 is due 60 days before the beginning of the workshop, July 25. Your deposit and other payments are 100% refundable until July 25. Call Katherine at Flatbed Press to register and hold your place!

Image: Collaborative monotype created at La Romita 2013 with Katherine Brimberry, Suzi Davidoff, and the Printmaking Intensive participants.

Advanced Techniques in Etching
Heather Parrish [bio]

July 18-19, 2015

Continue techniques and printing in this class designed for the returning etcher. Methods will cover aquatint, chine colle, spitbite and color printing. Heather will work with each student to create a small edition with imagery of their choice. The intimate class size accommodates any skill level and artistic intent - perfect for creating new projects or continuing plates from Etching I. Join us to expand your intaglio expertise and access Flatbed's professional print facility.

Tuition: $200

Maximum Enrollment: 8

Back to Course Listings

Cathy Savage [bio]

August 1 - 2, 2015

The word collagraph is a union of the words “collage” and “graphic.” In a nutshell, a collagraph is a collage which is printed. The shapes and textures of the collage elements determine the look of the final piece. The collagraphic method is a less-toxic approach to printmaking. Once learned, it is easy to create plates out of materials found around the home. It has the unique ability to translate actual textures into images. The plate can be printed either as an etching, a relief, or as a combination of both. Cathy will show students how to create value and rich tonal effects through the use of traditional collaging, drypoint, and painted intaglio. In this introductory class, we will be focusing on single plate collographs to be printed in black. Each student will create several plates during the first day and they will be printed during the second day. This is a great class to explore surface, texture, and layering through printmaking. All levels are welcome.

Tuition: $210

Maximum Enrollment: 8
Minimum Enrollment: 3

Back to Course Listings

Heather Parrish [bio]

August 8, 2015

Monotyping is a painterly, expressive, and instantly gratifying printing technique where each impression is unique. This versatile method is a great way to develop images, add color to already printed works and an easy introduction to some of the basic concepts of printmaking, such as the mirror effect and basic press operation. This class is suitable for all levels of experience.

Tuition: $150

Maximum Enrollment: 6

Back to Course Listings

Relief Printing on Vandercook Letterpress
Heather Parrish [bio]

August 15-16, 2015

This class offers the unique opportunity for participants to carve their own blocks and print them using Flatbed’s classic Vandercook letterpress. During the first section the instructor will cover carving techniques and design principles for creating imagery and text on ‘type-high’ linoleum blocks with the option to learn multi-block image design. In the second section you will learn your way around the letterpress, including ink mixing, paper prep, registration and letterpress operation. These easily printed blocks make great cards, logo designs, illustrations, fabric designs and, of course, fine art prints.

Tuition: $200

Maximum Enrollment: 8

Back to Course Listings

Custom Workshops

In addition to our regularly scheduled classes, we can work with your school, community program, or private group to schedule workshops on a wide range of topics relating to printmaking and/or book arts. We can work together to design something special and exciting for your group. For questions, or to schedule your workshop, please contact

Back to Course Listings


We are pleased to offer workshop giftcards! Available for one or two-day classes, these are sure to please any artist or aspiring printmaker you wish to give a gift to! Purchase now, or for more information, email

Choose Your Gift

Flatbed Classes | Fall and Winter 2014


To receive updates and special offers sign up for our Classes Newsletter by sending an email to

Click on each class title to see photos and read a full description of the course.

Monoprint Extravaganza
with Lynne Hubner

September 13, 2014


Pronto Plate Lithography
with Veronica Ceci

September 20-21, 2014

$150 for one day, $200 for both*

Intro to Linocut
with Alfonso Huerta Garcia

September 27-28, 2014


Collagraph, Drypoint, Painted Intaglio
with Cathy Savage

October 4 and 12, 2014


Monotype and Bookbinding
with Heather Parrish

October 11 and 18, 2014

$150 for one day, $200 for both

Meet the Monotype
with Cheryl Finfrock

October 19, 2014


Intro to Woodcut
with Alfonso Huerta Garcia

October 25-26, 2014


Intro to Etching
with Heather Parrish

November 1-2, 2014


Linocut for Letterpress
with Heather Parrish

November 8-9, 2014


Photo Plate Etching
with Katherine Brimberry

December 13-14, 2014


Individual Tutorials
with available instructors

Scheduled by instructor

$125/2 hours
$250/4 hours

*Some additional material costs may apply. These will be covered in the course syllibi and may either be purchased before the workshop or will be avaliable for purchase the day of.

Flatbed Classes | Summer 2015


To receive updates and special offers sign up for our Classes Newsletter by sending an email to

Click on each class title to see photos and read a full description of the course.

Calling All Printmakers and Photographers

WORKSHOP: A weekend of making photopolymer gravures with visiting artists

Byron Brauchli and Scott Martin

October 22, 23, 24

Advanced Techniques in Etching
with Heather Parrish

July 18 - 19


with Heather Parrish

August 8


with Cathy Savage

August 1 - 2


Relief Printing on Vandercook Letterpress
with Heather Parrish

August 15 - 16


Individual Tutorials
with available instructors

Scheduled by instructor

$125/2 hours
$250/4 hours

*Some additional material costs may apply. These will be covered in the course syllibi and may either be purchased before the workshop or will be avaliable for purchase the day of.


We are pleased to offer workshop giftcards. Available for one or two-day classes, these are sure to please any artist or aspiring printmaker you wish to give a gift to! Purchase now, or for more information, email

Flatbed Classes FAQ


For additional information, please contact

How do I sign up for classes at Flatbed?

Class registration can be completed in 2 ways: online with PayPal or by calling Annalise Gratovich at (512) 477 - 9328. Classes which have not met enrollment minimums will be postponed or cancelled. Students are requested to register early to avoid cancellation.

How do I pay for my classes?

Payments may be made by check or credit card. Participants may be asked to pay for additional supply costs incurred on the date of the course. These supplies are listed in the course syllabi and may either be purchased before the workshop or will be available for purchase during the workshop.

Payment by Check: Please make out all checks out to "Flatbed Press". Checks may be mailed to the following address:

Flatbed Press (ATTN: Annalise Gratovich)
2830 East MLK Blvd.
Austin TX 78702

Payment by Card: Credit card payments may be completed securely online through PayPal or over the phone with our class coordinator Annalise Gratovich. She may be reached at (512) 477 - 9328.

What should I bring to my workshop?

Flatbed will provide basic materials for each course, but certain material costs may be incurred in addition to class tuition. Additional costs will be outlined in each course's description and syllabus. Plates and paper for certain courses will be available for purchase at Flatbed during the course of the workshop - payments for these materials may be made on class date. Some workshops may also encourage participants to bring their own materials for incorporation into the workshop (ie. collage materials, transparencies of images, etc.). Syllabi will be sent to participants a weekend before the workshop.

Full-day workshops will also include a break for lunch. Students are encouraged to bring their lunch to the class - access to a refrigerator and microwave is available at Flatbed. If students choose not to bring their lunch, there are a few fast food options available in the area.

Are refunds available if I am unable to attend a workshop?

Students choosing not to attend the workshop for which they are registered must give notice of 7 days for tuition to be refunded*. If you are unable to attend your workshop, please contact Annalise Gratovich at or (512) 477 - 9328.

* For the October visiting artist workshop with Byron Brauchli and Scott Martin, notification of cancellation must be given 30 days in advance for a refund to be processed.

What happens if my class is cancelled?

If a course does not meet minimum enrollment requirements, it may be cancelled. Students signed up for a cancelled course will be notified 1 week prior to course date, and may choose between a payment refund or attending another course from the schedule. Students may have the option of scheduling an individual tutorial in the technique requested, depending on instructor availability.

I can't attend my workshop of choice on it's scheduled date, or would like instruction in a technique not offered this semester. How can I schedule an individual tutorial?

Individual tutorials are available for most techniques covered in our class schedule, as well as additional printmaking methods. Tutorial requests may be made by contacting Students will receive one-on-one instruction in their medium of choice with one of our available instructors. Upon submitting a request, Flatbed will work with you and our instructors to schedule a date and time for the tutorial. A 2-hour tutorial is generally $125 plus material costs if applicable. A 4-hour tutorial is generally $250 plus materials.

I would like to continue working at Flatbed after my workshop - is the shop available for open studio time?

Studio time, with a print assistant present, may be purchased from Flatbed. Please contact to check studio availability and rates.

Can I teach at Flatbed?

Flatbed is always interested in incorporating new workshops into our course schedule. If you would like to teach a course, please contact with your information and a short description of the process you'd like to teach.

How can I receive updates about Flatbed's Classes?

To receive exclusive email updates on our workshops, please email to sign up for our classes email list. Updates are also posted to Flatbed's facebook page.

Still have questions? Contact

Instructor Bios


Byron Brauchli and Scott Martin

Byron Brauchli holds an MFA in photography from the University of Texas at Austin. He has been a fellow of the US-Mexico Fund for Culture, Fulbright-García Robles, and the National System of Artistic Creators (FONCA). In 2007 the Universities of Arizona and Veracruz published his book of US-Mexican photographs On the Line, and this event will also feature work from his new book, Encrucijadas/Crossroads. With over 100 individual and collective exhibitions, his photographs have been exhibited in such venues as The Museum of Fine Arts Houston, the Center for Creative Photography (Tucson, AZ), the Wittliff Collection, and the Mexican National Photo Archive (Pachuca, Hidalgo, Mexico). His work is in such collections as The HRC (UT Austin), The Center for Creative Photography, the Museum of Fine Arts, Houston, and the William Cuendet Foundation in Vevey, Switzerland, to mention a few.

Scott Martin is the owner of Onsight, a training business that helps professionals optimize their workflows for quality and efficiency. Scott is known for pushing technology to it’s limits and for creating techniques to optimize image quality on a variety of process. He holds the first ever known degree in Digital Photographic Imaging, is a beta tester for many products in the industry and has been teaching photography workshops internationally for over 20 years. Scott’s photography studies the intersection of the built environment and the natural environment, and what our structures say about ourselves. His work is shown in galleries, contemporary art museums and is included in many public and private collections.

Katherine Brimberry

Katherine is Co-founder, Director, and Senior Master Printer of Flatbed Press. Katherine's expertise as Senior Master Printer is in the collaboration phase of projects, where she works as technical collaborator with artists such as James Surls, Julie Speed, Frank X. Tolbert 2, Trenton Doyle Hancock, and Joan Winter, among many others. Every other year, Katherine directs and teaches a two-week workshop, Immersieve Printmaking at La Romita School of Art in Terni, Italy. In her own work, Katherine uses intaglio printmaking techniques to explore private and universal metaphors.

Belinda Casey

Belinda Casey is a multi-media artist with an exhibit record of over 30 years. She has taught for over 20 years, many age levels, at many schools. Currently she is a Professor teaching printmaking at Austin Community College. Belinda says, “Art is my dessert and very much a part of my everyday life, and my philosophy is ‘Eat dessert first’.”

Veronica Ceci

Tamarind trained Master Lithographer, Veronica Ceci, took a two-year sabbatical from Flatbed to attend Kent State University in Ohio, where she refurbished the neglected lithography program while working toward her MFA. While at Kent State Ceci further polished her already impressive skills in the medium by repairing broken-down equipment as well as designing and implementing a brand new curriculum for both introductory and intermediate lithography classes. Additionally she found the time to exhibit extensively, including shows at the International Print Center New York and the Cleveland Museum of Art. Prior to her sabbatical from Flatbed, Ceci had worked in the lithography studio with artists such as Luis Jimenez, Sarah Canright, Dan Rizzie, and many others.

Cheryl Finfrock

Cheryl Finfrock is currently represented by Koelsch Gallery in Houston. Her exhibition history includes NYC, San Francisco, Paris, Berlin, Copenhagen, Czech Republic, and Bulgaria. She enjoyed a solo monotype exhibit at Lessedra Gallery in Sofia, Bulgaria as well. Her current painting series, Secret Places, is a snapshot of recalled experiences – exploring the buried treasures of memory brought to life through human experience. Secret Places explores the cult of place, brought to life through recollected experience.

Alfonso Huerta Garcia

Alfonso Huerta's paintings, prints and drawings combine various media, including egg tempura, oil, pastels, charcoal, and watercolor to depict a series of serene still life studies and portraits expressing the beauty and sensuality of everyday life with a distinctly Mexican soul. Originally from Mazatlán, Sinaloa, Mexico, Alfonso studied painting and life drawing at the Academia de Arte Municipal de Ciudad Juarez and at the Escuela Nacional de Artes Plásticas in Mexico City. His paintings and drawings depict the lush and rich textures of his native Mazatlán with strong tropical flashes of color and surrealistic effects of saturated light and shadow.

Currently, Alfonso is working on a series of Mayan Images for a book on the mythology of that culture. In addition, his monoprint, Dancing Jaguar, was used as the book cover for The Drum Wars, a book concerning the archaeologist community at Palenque, Mexico. The book is due out by 2013.

Previous exhibitions have included various shows throughout México. During the past several years since moving to Austin, TX, Mr. Huerta's work has been featured in Images from Mazatlán at the John Henry Faulk Central Library, and a show at the City of Austin, Small Business Development Center. In April of 2003, he won First Place at the 2nd annual Austin's Italian Chalk Art Festival for both Best Original Work and Best of Show. He had a solo show, Dos Mundos / Two Worlds at La Peña Gallery in May, 2003. During the summer of 2004, he was chosen to participate in an international juried exhibition of prints at the 3rd Lessedra World Art Print 2004 in Sofia, Bulgaria. Recently, he participated in a group show of prints with the WPA, Multiple Originals IX at the Julia C. Butridge Gallery in The Dougherty Art Center in September, 2004. Three of his works were selected for a group exhibition, Recuerdos, to commemorate the Dia de los Muertos at St. Edward's University in October, 2004.

Kathy Gurwell

Kathy Gurwell has years experience in the fields of paper and printing, beginning with her graphic arts study in Paris and continuing as a Curator Fellow at Tamarind Lithography Institute in Albuquerque, NM and most recently at the Museo della Carta in Fabriano, Italy. She has demonstrated papermaking in San Francisco, Santa Fe, and Houston, where she now lives. Her artistry in this field was recognized a few years ago when Lord & Taylor invited her to display and sell her products at a show of Santa Fe artists in their principal New York City store. More recently she was commissioned to make a 40 x 40 in. piece of paper for the Houston Center for Contemporary Craft.

Lynne Hubner

Printmaker Lynne Hubner runs an active print studio in the historic district of McKinney, TX and is founder of the North Texas Printmakers Guild. Hubner earned her BFA at Manhattanville College studying printmaking under John Ross. Her MFA is from the University of North Texas in Denton ,TX. Hubner is an instructor at the Women Printmakers of Austin, Burning Bones Press in Houston, Ghost Ranch of Abiquiu New Mexico, a guest instructor with the Nature Printmaking Society at the Oregon Institute of Marine Biology and was a featured artist for PrintHouston Rockin’ and Rollin’ Prints. Her work celebrates the spirit of the people and places she has encountered.Her work is represented by Orisons of McKinney, TX and Davis and Blevins Gallery of St. Jo, Texas.

Heather Parrish

Heather Parrish is a multi-media artist exploring themes of destabilized boundaries through installation, video, photography, and various paper arts. She recently received her MFA from University of Notre Dame where she taught printmaking classes, and has exhibited nationally and internationally, including solo shows at the Snite Museum of Art, Krasl Art Center, and Flatbed Press. Heather honed her fine art printing skills during her time as a professional printer at Flatbed and relishes the opportunity to put hand-to-ink-to-plate-to-paper again (and guide others in doing so as well) back here on the home front in Austin, Texas.

Samantha Parker Salazar

Samantha Parker Salazar received her MFA from The University of Texas Austin, TX in 2014 and her BFA from Bradley University in Peoria, IL in 2011. She has exhibited both regionally and nationally, with large-scale installations at multiple venues in the regional southwest. Her work was recently featured in The Contemporary Print at Big Medium, Working Generations at Davis Gallery, The Printed Image 5 at Alice C. Sabatini Gallery, POOL at the Visual Arts Center Austin, Truth and Consequences at Anya Tish Gallery, Williams Tower Gallery, and NEXT 2014 at Nicole Longnecker Gallery forthcoming. Parker Salazar has taught multiple classes in printmaking at The University of Texas.. She currently resides in Austin with her husband Rolando and daughter Felicity.

Cathy Savage

Cathy Savage creates hand pulled prints and layered collages focused on the hidden complexities found in the every day, often with a mathematical or scientific theme. Inventor Nikola Tesla is a favorite subject. Explorations of surface and texture are common in Cathy's work and she enjoys chronicling her her efforts in her studio blog. As a long time Austinite, Cathy’s work has been exhibited widely in Texas as well as throughout the US, and she has a solo show scheduled for Chicago in 2015.

Testimonials and Photos

Flatbed Contemporary Print Fair

Announcing 2015 Publishers, Universities, and Artists

Julia Arredondo, St. Louis, MO
Burning Bones Press, Houston
Lisette Chavez, Austin
Dinah Coakley, San Antonio
Coronado Studio, Austin
Scott Frish, Master Printer and Publisher, Canyon
Flash Collective, Kent State Uni., OH
Flatbed Press, Austin
Debbie Little-Wilson, Dripping Springs
Nicole Geary, San Antonio
Sheila Gritte, Corpus Christi

Iron Frog Press, Dallas
P.R.I.N.T Press, Denton
Kathleen Raymond, Richardson
Jesus de la Rosa, Kingsville
Serie Project, Inc., Austin
Kathleen Stafford, Austin
Humberto Saenz, Wichita, KS
Stephen F. Austin University Print Program, Nacogdoches
Texas State Students and Faculty, San Marcos
Texas Tech University Print Club, Lubbock
Fawna Xiao, Plano

Presented in conjunction with Print Austin, Flatbed is pleased to announce the second-annual Contemporary Print Fair showcasing publishers, printmakers, and university programs from Texas and beyond.

PRINT FAIR PREVIEW GALA: Friday, February 13, 6-9pm. Select preview of booths, with bites, beverages, music and live Valentine relief printing. $10 at the door; proceeds benefit PrintAustin.
ALL DAY PRINT FAIR: Saturday, February 14, 10am-5pm. Twenty three participants exhibiting etchings, woodcuts, lithographs, monotypes, and serigraphs. Ongoing hourly printmaking demonstrations. Free and open to the public all day.

Julia Arredondo

Burning Bones

Lisette Chavez

Dinah Coakley

Coronado Studio
Image: Matt Rebholz

Scott Frish
Image: Bill Fick

Flash Collective, Kent State
Image: Taryn McMahon

Debbie Little-Wilson

Nicole Geary

Sheila Gritte

Iron Frog Press
Image: Brian Jones

P.R.I.N.T Press
Image: Kiki Smith

Kathleen Raymond

Jesus de la Rosa

Serie Project
Image: Alma Lopez

Kathleen Stafford

Humberto Saenz

SFA Print Program
Image: Matthew Sutter

Texas State University
Image: Emily Eaton

Texas Tech University
Image: Brandy Gonzaelez

Fawna Xiao

2015 Prospectus

Flatbed Contemporary Print Fair 2015



  • February 13 - 14, 2015
    Preview night: February 13, 6pm - 9pm
    Fair day: February 14, 10am - 5pm

  • Application due: December 15, 2014
    Includes: Registration form, 5 images of work, submission fee of $20
  • Notice of acceptance: Sent the week of December 15, 2014
  • Vendor booth fee due: December 31, 2014

Vendor and Applicataion Fees

  • Application submission fee: $20 (Will be applied to the booth rental if accepted).

  • Individual tables with one or two printmakers: $200

    Fee includes:

    • Single six-foot table with two chairs and table covering
    • Six-foot wall area behind the table for exhibition area
    • Two Exhibitor badges
    • Vendor listing with image in the Texas Printers Fair Guide
    • Vendor signage
    • 50 postcards
    • Thumbnail of your work and link to your website on our "Participants" page
    • Fees also include: marketing, advertising, promotion, opening reception, signage, rental of tables and linens.

  • Publishers and University print programs: $350

    Fee includes:

    • Two six-foot table with four chairs and table covering
    • Twelve-foot wall area behind the table for exhibition area
    • Exhibitor badges
    • Vendor listing with image in the Texas Printers Fair Guide
    • Vendor signage
    • 100 postcards
    • Thumbnail of your work and link to your website on our "Participants" page
    • Fees also include: marketing, advertising, promotion, opening reception, signage, rental of tables and linens.

  • Printmaking presentations and demonstrations: Free

    Registrationf form for printmaking demonstrations and presentations are attached to the print fair Application. More information can be found below.

Additional Terms, Conditions, and Information:

Description: The Flatbed Contemporary Print Fair, working in conjunction with PrintAustin, will provide a venue for printmakers and print publishers to showcase work to the public and give printmaking demonstrations. Printmakers, print publishers, and university print programs will be chosen to represent their work and programs through a print fair format. Scheduling and participation information will be provided to vendors upon acceptance.

Printmaking Presentations and Demonstrations: Printmakers wanting to demonstrate their skills, techniques, or methods, are invited to apply to give a presentation or demonstration during the fair. The demo registration form is accessable through the registration application.
Printmaking demonstrations will be held in the open-studio area of Flatbed Press. Demonstrations can be for any printmaking technique. One demonstration will be held at a time and the time allotted for each demonstration will be approximately 50 minutes or less. There are 10 slots open for demonstrations. The organizers of the Fair are looking for educational, low toxic, basic, and interesting demonstrations that will attract and educate the public. There is no charge for participating. A listing of demonstrations and the times they will be held will be avaliable online and in the Fair brocure.
Interested participants must apply within the registration application, giving information about the proposed demo, types of products and solvents involved and type of press needed. Demonstrators will supply all their own supplies. Demonstrators will receive a Demonstrator badge.

Sales:All transactions must be handled directly at Vendor's booth.

Insurance and Liability: Every exhibitor must insure its property against all risks of loss or damage.
Every participant is required to guarantee the condition, authenticity, and title to all artworks to any purchaser.
Fair organizers reserve the right to direct any Exhibitor to remove any item, which in their sole opinion is deemed unsuitable for display or sale.
No Exhibitor may sublet a booth entirely or partially without the express written consent of the Fair Organizer.

Participation: This is a jurried call to entry. Any registered Exhibitor who withdraws from the Fair after January 14, 2015 will forfeit the booth fee.
Specific requests for space and location may be made. We will do our best to honor your requests but such requests cannot be made a condition of participation. The Flatbed Contemporary Print Fair reserves the right to make adjustments in booth placements and configuration.

Booth Configuration:

Deadline for submissions is November 30, 2014.

Past Participants

Flatbed Contemporary Print Fair

2014 Publishers, Universities, and Artists

Julia Arredondo

Burning Bones
Image: Trenton Doyle Hancock

Penny Cerling

David Conn

Margaret Craig

Jeffrey Dell

Catherine Dudley

Scott Frish
Image: Bill Fick

Nicole Geary

Iron Frog Press
Image: Matt Bagley

Brian Johnson

Erin KerrStainken

Deb Kreimborg

Deborah Mersky

Kelly Moran

Peter Nickel

P.R.I.N.T Press
Image: Jiha Moon

Maricela Sanchez

Serie Project
Image: Osvaldo Ramirez Castillo

SFA Print Program
Image: Daniel Baugh

Texas State University
Image: Cassie White

Texas Tech University
Image: James Chase

Barbara Ward

Sang Mi Yoo

Flatbed accepts proposals from artists, dealers, and publishers who seek to create--at their expense--an edition of collaborative etchings, lithographs, or woodcuts. Our 4,000 sq. ft. studio is spacious and equipped to accommodate traditional, as well as exploratory print projects. One of our specialties is large-scale prints, which are served by over-sized etching and litho presses and aquatint box. Lens-based processes such as photogravure are also emphasized, as well as positive-plate lithography.

After reviewing the artist's work, we agree on a project and appropriate printmaking process(es), and submit to the publisher an estimate of our fees for the two phases:

1. Collaborative image development (during which the artist creates the matrix or matrices; this will be a per-day fee)
2. Editioning (during which all the impressions are printed; this will be a per-print price).

Upon signing a contract, the publisher pays one half of the estimated fees in advance, and the other half when the project is finished. In selected cases, Flatbed will also print on contract a matrix or matrices developed elsewhere. Flatbed also makes its studios available on a limited basis for open-shop intaglio and monotype printmaking by experienced artists. Inquire about day rates for assisted or unassisted work. For more information about contract printing and its costs, or about open-shop opportunities, contact Katherine Brimberry, co-owner and master printer, at 512/477-9328 or by email.

Contract Printing   
Flatbed's spacious 4,000 sq. ft. studio is equipped for all traditional processes in intaglio, relief, monotype, collography, and lithography, as well as lens-based and other innovative processes, including photogravure. A private artist's studio is included also.

The intaglio presses are: a 55 in. x 100 in. heavy-duty Takach-Garfield, a 34 in. x 60 in. Takach-Garfield, and a 24 in. x 48 in. French Tool. A 36 in. x 60 in. electric French Tool is on order. The litho presses are a 38 in. x 95 in. electric Griffin and a 31 in. x 60 Griffin; ample litho stones range from 36 in. x 48 in. down.

Serving these presses are over-sized acid baths, a 48 in. x 48 in. x 98 in. aquatint box, a fully-equipped darkroom, a 44 in. x 54 in. Nuarc plate maker, and generous work tables and counters.

Open Studio Rental at Flatbed Press

Printing and etching facilities at Flatbed are now available during weekdays from 9 am until 4 pm. All printmakers working without assistance must be experienced printmakers. If the artist has not had sufficient experience, rental must include a Flatbed assistant to operate the press and other equipment. Black ink, solvents, rag service and acids are provided. Plates and paper are available to purchase. A prepared palette of six color inks is available for monotyping at $50.

    Facilities and supplies provided:

  • Manual French Tool Press 48” x 24” bed
  • Manual Takach Intaglio Press 60” x 32” bed
  • Fan operated aquatint box
  • Hot plate for inking
  • Acid baths with Ferric Chloride
  • Water bath for paper soaking with toweling for blotting
  • Asphaltum hard ground
  • Black ink for proofing only
  • Limited amount of drywall for flattening
Open Studio for projects

Open studio is available by appointment for hourly, day or weekly rates. Monthly rates require memberships.

Half day (4 hours/ no assistant)..................................$40
Week of five days (up to 7 hours per day)................$300
Month without membership.......................................$500

Open Studio Membership

Membership requires a yearly membership fee of $200 to cover rag, solvent, acid and other supplies. Members will be provided a drawer and locker for personal papers and supplies. There is a limit of four open studio members at a time. Memberships are offered for one month, three month, six months intervals.

One month.........................................$400 per month
Three month.......................................$375 per month
Six month...........................................$350 per month

Technical Assistance: For less than a day is available at $70/hour. Must be arranged in advance.

Contract Printing: Contract printing is always welcome. Inquire about intaglio, lithograph and relief editioning.

To reserve shop time and technical assistance, or to arrange editioning, call Katherine Brimberry at 512/477-9328.
Custom workshops are available by arrangement.

New Etching by Sandra Fernandez
  Her Majesty (su majestad) Her Majesty (su majestad), a new soft ground, chine collé etching, was released as Flatbed's newest publication by Sandra Fernandez. Fernandez, who teaches printmaking at the University of Texas, is also well known for her works that involve the use of stitching, textiles, and assembled sculptural pieces. Sandra's new work, Her Majesty (su majestad), was created using stitching elements pressed into the soft ground. A collaged skirt using paper from a published collection of the State Trials and proceedings upon High Treason and other crimes and misdemeanors from the reign of King Richard II to the end of the reign of King George I which was printed in London in 1730.

The edition of 20 prints was signed October 25 and is now available through Flatbed or the Gallery at Shoal Creek.

Featured Editions What_s New New Etching by Sandra Fernandez Her Majesty (su majestad)   
Deep Time Suite
Flatbed Press is pleased to announce two new etchings by Liz Ward: Ice Core and Glacial Ghost with Fossil Flowers. These are a part of the on-going body of work titled “Deep Time,” in which Ward references images of ice cores and other ice forms creating works that respond to the sublime yet fragile beauty of glaciers. Both etchings were created simultaneously with printmaking techniques that mirrored the gradual growth, death, fossilization, incremental layering and shrinking that is evident in glacial formation and deformation of icebergs and glaciers. Each of the Deep Time etchings are in editions of 30 and measure 34” x 14” on 40” x 18” Japanese Shiramine paper. The retail price for each print is $1,800 and the pair is available at $3,000.
Liz Ward prints at Flatbed Press
5/10/12 - 5/25/12   
With great pleasure, Flatbed Press announces Randy Twaddle’s first etching at Flatbed Press, Lankydoo. This color etching was created in an edition of 24, on Rives BFK and measures 48 ½” x 36”. Collectors who know Randy’s work recognize in this etching one of his signature transformer images created using aquatint techniques. Using two 30” x 40” copper plates, Randy worked using experimental spit-bite aquatint washes and deeply etched aquatints to create an artwork which is a stunning marriage of the abstract expressionist wash and the transformer lines. Randy describes the creative source, “I ‘m constantly awed by their (power lines and transformers) unintentional lyricism. They create a strong musical association for me, and I often think of them as alternative scores scratched out in the air by anonymous composers.”
Until June 15th, Lankydoo is available at the introduction publication price of $2,200. After June 15, the prints will be $2,500.

Featured Editions Featured Edition Lankydoo   
Peat Duggins: New Lithograph
Austin artist and arts organizer Peat Duggins has recently completed a limited edition of twenty-five, color lithographs at Flatbed Press in association with Art Palace Gallery. The artist collaborated with master printer Veronica Ceci to create the original print, which visually references Duggins' earlier work in animation.

The untitled image that he drew on three litho plates is the lower trunk of a tree with blue butterflies circling it. The effect is light hearted and Disney-esque but has deeper meanings in the context of a planet that is ecologically imperiled. Duggins has shown us nature the way it was without humankind and thankfully the way it is still in increasingly rare pockets of wildness. The print shows off the artist's mastery of line and the disarming charm of his draftsmanship.

Duggins, who works in several different styles, is collected by the Blanton Museum of Art and the Austin Museum of Art and has been very active in the new art scene that has developed around young artists. He has been included in the Austin Museum of Arts prestigious New Art in Austin show and in the 2004 and 2007 Texas Biennials, and he is co-founder/director with Sterling Allen of Austin's acclaimed Okay Mountain and founder/director of the Fresh-Up Club, an early artist's consortium in Austin. He has been awarded numerous awards and residencies including the McDowell Colony and the Bemis Foundation. Currently--as the recipient of the 2008 Otis and Velma Davis Dozier Travel Grant from the Dallas Museum of Art--he is launched on a cross-country bicycle tour to examine the American landscape through one drawing per day and a documentary film--"A Survey of Open Space"--directed by Duggins. Daily updates can be found on the Fusebox web site.

Duggins' new lithograph is available at Flatbed and at Art Palace.

Featured Editions Featured Edition Peat Duggins_  New Lithograph   
Flatbed Press Presents: Heartland
  A Suite of Eleven Gravures by James Surls

James Surls’s “Heartland” is one of the most ambitious publications in Flatbed’s twenty-year history and is one of the press’s masterworks. It is a true deluxe artist’s book in the tradition of the great, European livres deluxe produced in Paris in the early twentieth century as well as subsequent ones published by Universal Limited Art Editions in New York City. During an approximately three-year period, Surls collaborated with Flatbed’s master printers Katherine Brimberry and Tracy Mayrello to develop and edition the suite.

“Heartland” consists of eleven gravures on Thai chine collé and Twinrocker papers and four letterpress sheets: a tittle sheet, a poem by the artist, an essay by artist and wife of the artist Charmaine Locke, and a colophon. It is an elegant combination of visual art and literature. “Heartland” is a limited edition of twenty-one gravures, each signed and numbered by the artist. The lowest numbers are reserved for the full sets of all eleven gravures but a limited number of the higher numbers in each edition are available as individual impressions.

More work by James Surls

  Heartland Suite PDF   
Billy Hassell
  Red Winged Black Bird Four color chine collé aquatint.

Featured Work Featured Edition Billy Hassell Red Winged Black Bird   

Featured Work Flatbed Features   
Flatbed Introduces In Depth Classes
  Four new classes take your work to a deeper level

Flatbed is pleased to announce the creation of four new in depth classes this summer. Visit our classes page for details on

Combo Platter a course combining aesthetic instruction with business practices
Advanced Intaglio Techniques a course for experienced printers with senior master printer Katherine Brimberry
Stone Lithography an all levels class showing you how to do it the old fashioned way
Sewn Board Binding a modern binding technique instructed by Booklab's Craig Jensen.

For intro level students, we invite you to visit The Hyatt Lost Pines Resort for our entry level courses in Linocut and Monotype.

more information on all classes
July 31st - August 31st   
Flatbed exhibits at Gardens Dallas

Flatbed has installed a selection of its colorful lithographs, etchings, woodcuts, and monotypes at the new Gardens-Dallas.  Dallas Modern Luxury Magazine hosted an opening reception on July 31st, and two hundred Dallasites attended the gala event.



The show will continue through August 31.  Thirteen artists are represented by thirty-one, colorful works in a wide variety of styles and subjects.  The show will continue through Sunday, August 31.  Afterward, Gardens-Dallas will continue to showcase a number of select works.



Gardens-Dallas is located in the heart of the Dallas art and design district at 3699 McKinney; 214/528-7778; website


Flatbed continues to display selected editions at Gardens' Austin shop and nursery at 1818 W. 35th St. Both establishments are well worth a visit for the art and for the exceptional, designer items for the home.


Opening for Burton Pritzker

Flatbed Press & Gallery

presents May 26–June 26

Forgotten Planes

by Burton Pritzker
A New Series of Photographs commissioned by Tim Leach
Reception and Artist's Gallery Talk June 6, 6-9 PM

Exhibition details.
Printing Joan Winter's

Since January of this year, Joan Winter of Dallas, Texas has been working on a cycle of intaglio works at Flatbed Press. These works are to be included in her upcoming exhibition titled "Counterpoint" at Holly Johnson Gallery.

Keep watching for Flatbed's publication release for these prints in the near future. Meanwhile, we hope you enjoy these candids from the collabortion times with Joan at Flatbed. The photos are courtesy of John Winter.

Flatbed News What_s New Printing Joan Winter_s   

Flatbed News What_s New  Copper plate for _i_Shift__i_   

Flatbed News What_s New  Joan Winter confers with Katherine Brimberry and Lucy Flores   

Flatbed News What_s New  Brimberry pulling proof of _i_Surimono__i_ Winter in background.   
Happy New Year!!!!
Back from left to right: Jerry Manson, Lucy Flores, Katherine Brimberry, Beatrice Thomas, Teresa Gomez Martorell, Mark L. Smith, Cynthia Holmes, Kelly Cameron, Chris Reno,Jennifer Volkening, Caitlin Murray. Front from left to right: Tracy Mayrello and Veronica Ceci

Flatbed News What_s New Happy New Year!!!!   
Spencer Fidler Creates Large Scale Prints
untitled multi-layer intaglio image

Flatbed News What_s New Spencer Fidler Creates Large Scale Prints   
Spencer Fidler, of NMSU in Las Cruces, New Mexico, worked during July to create large scale etchings printed from up to six 24" x 36" plates. His imagery, drawn from both landscape and figuarative sources, dominates an empty field. Fidler used layers of thin gampi Japanese paper to build unique impressions. The prints created at Flatbed were shown in August in Las Cruces, and will be available through Flatbed.
Flatbed News What_s New   
New Publication of Teresa Gomez Martorell Prints
  "Narcissus" Gomez Martorell's relief etchings were published in small editions this August. These large scale prints are rich with detail. Narcissus is now on display in the Made@Flatbed show on exhbition thought mid-September.

Flatbed News What_s New New Publication of Teresa Gomez Martorell Prints _Narcissus_   
New Publication. Luis Jimenez Lithograph, Abu Ghraib
  Abu Ghraib in production Flatbed's Tamarind master lithographer Veronica Ceci, aided by lithographer Clif Rily, have just finished printing the post-humous edition of stone lithographs by Luis Jimenez. This was the last drawing on stone by the late sculptor. It is a moving and unusually large image (3 x 4 ft.) drawn from Abu Ghraib Prison and informed by Goya's Disasters of War. Flatbed also published post-humously with the artist's estate a very small stone lithograph which was a study for the large lithograph.

Flatbed News What_s New New  Publication.   Luis Jimenez Lithograph_ Abu Ghraib Abu Ghraib in production   
Editioning Red Winged Black Bird
The shop was busy during late June and July editioning Billy Hassell's "Red Winged Black Bird." Working as team, Lucy Flores, assistant printer, Amy Spencer, summer intern from SCAD, and Teresa Gomez, recent MFA graduate printer from SMU are editioning the four color chine collé print. The edition of forty is to be signed in late August.
Action Video of Printing "Redwinged Blackbird"
Flatbed Gallery is a private art gallery which specializes in original prints, but also exhibits and markets exceptional paintings, drawings, and photographs. Flatbed Gallery is also available on a limited basis for receptions and meetings.

All of the prints created and sold at Flatbed are from limited editions of multiple originals. That is, they are created from matrices created by the artist expressly for this purpose. Included are etchings, lithographs, woodcuts and intaglio.

Normal gallery hours are: Tues.-Sat. 10am-5pm and by appointment.

Some of the artists whose works are available through the gallery are: *John Alexander, *Terry Allen, Dan Allison (Top Prize, Lubljiana Print Festival 1992), *Michael Ray Charles, Ann Conner, Susan Davidoff, *Kelly Fearing, Matthew Fuller, Kenneth J. Hale, *Trenton Hancock (Whitney Biennial 2000 and 2002), *Munson Hunt, *Luis Jimenez, *Robert Levers (Venice Biennale 1984), Bert Long (Prix de Rome 1990), *Angele Mason, *Melissa Miller (Venice Biennale 1984), *Celia Muñoz, *Greg Murr, Burton Pritzke *Linda Ridgway, *Dan Rizzie, Lawrence Scholder, Ann Stautberg, *James Surls, Frank Tolbert2 and *Liz Ward.

*Artist published by Flatbed in one or more limited editions

Art Austin
  Art Austin
Links  Art Austin   
Austin Marathon Hotels
  Marathon Hotel Guide   
Bob Schneider
  Bob Schneider Music   
James Surls
  James Surls Web Site   
Julie Speed
Julie Speed   
Managed Artwork
  Web-based gallery software   
Flatbed Press makes available on a limited basis the opportunity for artists to work in the shop at modest day rates.

Unassisted work in the shop is permitted only for artists who have prior experience in the printmaking process desired.

Technical assistance from Flatbed staff for less than a day is available at a rate of $50 per hour.

Long-term, unassisted access to the shop on evenings, Saturdays, and Sundays is also available.

Artists may qualify for unassisted work in the shop by enrolling in one of the many printmaking classes offered by Flatbed year-round (see our section on "Classes" at this site). Contact Flatbed for information about upcoming classes.

To register for classes, rates, or to apply for and reserve time in the shop, call co-owner and shop director Katherine Brimberry at 512-477-9328, or send us an email.

Open Shop   
Flatbed Press collaborates with artists to produce limited editions of original etchings, lithographs, woodcuts, and monoprints. Flatbed also does contract, collaborative printing for other publishers, dealers, artists, and institutions, and is available on a limited basis for open-shop work by experienced artists.

All of the prints created and sold at Flatbed are from limited editions of multiple originals. That is, they are created from matrices created by the artist expressly for this purpose. Included are etchings, lithographs, woodcuts and intaglio.


Flatbed Press collaborates with artists to produce limited editions of original etchings, lithographs, woodcuts, and monoprints. Flatbed also does contract, collaborative printing for other publishers, dealers, artists, and institutions, and is available on a limited basis for open-shop work by experienced artists.

  • Self Publishing

                Collaboration on Image Development

                 Editioning of Extant Matrices

     Flatbed's master printers can print editions from existing matrices at a determined cost per print.  An editioning project begins by our examination of the matrix to assure that it is in good condition to print.  A proof is then pulled, and the number to be printed is established based on Flatbed's estimate of the cost and on the artist's or publisher's needs.

  • Editioning
  • Electroplating

     Flatbed provides electroplating services to artists and publishers who desire to strengthen their etched or engraved copper plates with steel.  Contact Katherine Brimberry for pricing information.

  • Facilities & Equipment


Printing Services   
Flatbed is a publishing workshop in the tradition of the great U. S. shops such as Universal Limited Art Editions, Gemini G. E. L., Crown Point Press, and Landfall Press.

At our invitation, contemporary artists come to collaborate with our master printers to create limited editions of original etchings, lithographs, and woodcuts. We share ownership of these prints with the artists, and the works are marketed both through Flatbed Gallery and the artists' other galleries.

Most of the artists we publish are painters or sculptors who also enjoy working in print media. As in all of the works made at Flatbed, our published editions are multiple originals. That is, each impression is pulled by hand from a matrix or matrices the artist created in our studios exclusively for this purpose. (All of our prints are multiple originals; none are reproduced from a single original.) Each print is then signed and numbered by the artist, and the Flatbed "chop," or embossment, is applied. The matrices are canceled (defaced or destroyed), in order to insure for our collectors the continued appreciation of the work's monetary value. A signed documentation sheet accompanies each etching, lithograph, or woodcut.

Some of the artists published by Flatbed to date are: Terry Allen, John Alexander, Michael Ray Charles, Ann Conner, Kelly Fearing, Munson Hunt, Trenton Doyle Hancock, Luis Jimenez, Leonard Lehrer, Bert Long, Angele Mason, Melissa Miller, Greg Murr, John Obuck, Linda Ridgway, Dan Rizzie, Margo Sawyer, Laurence Scholder, James Surls, Frank Tolbert2 and Liz Ward.

To purchase artwork which you see on our website, please contact us by email, or phone us at 512/477.9328.

All of the prints created and sold at Flatbed are from limited editions of multiple originals. That is, they are created from matrices created by the artist expressly for this purpose. Included are etchings, lithographs, woodcuts and intaglio.

Purchase Works   
Click on the artist's names below to view our wide selection of prints that are currently priced at $600 or less.

Bale Allen
Sterling Allen
Ann Conner
Peat Duggins
Dave Everett
Kelly Fearing
Teresa Gomez Martorell
Ken Hale
Clint Hamilton
Jack Hanley
Arthur Huang
Cassandra James
John Obuck
Chris Reno
Dan Rizzie
Bob Schneider
Laurence Scholder
Joe Segal
Hills Snyder
James Sullivan
Mary Vernon
Patrick Wadley
Bettie Ward
Dan Welden

Sample Collections  Click on the artist_s names below to view our wide selection of prints that are currently priced at _600 or less.   
Info About Self Publishing   
02Galleries and Project Space

The Flatbed Press Independent Galleries, the O2North Gallery and the O2Gallery and Project Space, are currently closed for booking.

To make an application to rent the 02 project space, contact Flatbed. Applications for 2015 are due December 31, 2014. Slots for June, July, and August are open. Artists will be notified of acceptance to exhibit on January 30, 2015.

Our mission is to help promote artists with an outstanding and cohesive body of work create a professional exhibition in our thriving artistic community at Flatbed.

Space Rentals Gallery Rental 02Gallery   
Available Spaces at Flatbed Press and Galleries

Click Here for Open Shop Rental
Flatbed's shop facilities are now open
to printers at hourly and monthly rates.

Click Here for 02 Gallery Rentals
Professional gallery space rental
for exhibitions and installations

Frank X Tolbert2 and His Texas Bird Suite
A beautiful suite of eight etchings of Texas birds is now in production here at Flatbed. The artist, Frank X Tolbert2 worked during the summer and fall at Flatbed to create the multi-color large etchings. Images can be seen here on line. Pre-publication sales will end December 6.

Black Legged Stilt, Golden Crown Heron, Horned Owl, Ruby Throated Hummingbird, Chicken Hawk, Texas Green Jay, Snowy Egret, and Pileated Woodpecker are all known as avian residents of Texas. They are birds who sometimes fly under our radar co-existing in the woods, swamps, bays and backyards. Frank X Tolbert 2 has taken on the work of creating these birds as color etchings in the tradition of Audabon yet using his unique style salted with a keen sense observation and curiosity combined with characteristic wit and humor. This ambitious project consists of eight images. Each 22” x 30” image is printed onto 37” x 28” Rives BFK paper in editions of twenty four. Multiple etching plates were used to create the images in the painterly fashion that Frank employs. Limited suites of eight or single images are available at pre-publication prices.

Frank X Tolbert 2 Texas Birds
I Saw a Crow Orca Was I
  Two new etchings by Jules Buck Jones

Jules Buck Jones, an emerging talent known for his drawings, paintings and installations, first worked with Flatbed master printers in early 2013 to create an etching titled Continental Divide. His experience creating this successful print spurred Jones to work even more ambitiously with the intaglio medium. During a studio visit, to plan the next project, we saw that his richly colored paintings on paper suggested that a colorful multi-layered etching would fit his vision. The solution was for Jules to make two copper plates with distinct matrices to create a dense tesserae of shapes and gradations. “I had to rearrange my usual approach to image making and work collaboratively.” says Jones. “ At times I was working completely backwards and blind. There is a level of complexity I can achieve in my paintings by layering, covering and opening up areas with little planning; it is all attack. The large print required a game plan. The back and forth of painting was possible but in a less immediate fashion. A lot of problem solving came into play which was super fun to work through, like putting together a large puzzle. “ Jules started the project in August 2013, choosing a large format of 45" x 32” for the copper-plate etching. He began the first plate using a soft ground technique which allowed him to draw a linear image onto the plate. Next, he added dark shapes using the “sugar-lift” technique. Here, the image is painted directly onto the copper plate with special ink made out of sugar, ink and soap. This allows the artist to incorporate brush strokes as he painted a bold pattern of shapes suggesting the jungle and its inhabitants. He repeated the process, adding additional shapes until he achieved an almost claustrophobic jungle environment. In all, the plate was exposed to five acid baths to etch the complex image. What emerged was again dense jungle imagery as in Continental Divide but in a much larger format. Jules was ready to dive in to create color variations, but as is often the case, he faced unfamiliar territory, full of unknowns, and processes that were tedious and unlike [his] primary medium. After experimenting with the key (first) plate, and creating a series of multi-colored monoprints, Jules created a second copper plate using an stage-etched aquatint process which allowed him to etch shapes of different values. This adds a dimension of both color and depth. With both plates ready, the proofing began; experimental color trials were pulled combining a varied range of colors. The results were stunning, and with some difficulty, two versions were selected to edition. I Saw a Crow, the key plate created with soft ground and sugar-lift aquatint and inked in black, dominates the space. Printed over the lively raw sienna background plate, the nuances of the mark making lying over and into the tesserae of dimensional shapes give a sense of the entanglement of a jungle, Orca Was I provides a stark contrast. “Here, the key plate was inked in white, the back plate in dark brown,” notes master printer Tracy Mayrello. “This allows the imagery from the back plate to come forward allowing tones to fade in and out, suggesting a very surreal environment.” These editioned prints, I Saw A Crow and Orca Was I, exist in editions of 15 each. They, along with the monoprint series titled with the complete phrase, I Saw A Crow Orca Was I and numbered I - X are ready for viewing and purchase at Flatbed. Read together the titles create a palindrome - I Saw a Crow and Orca Was I - cementing the relationship between the two views.  Seen side by side the two images play off of one another and give new expression and beauty to the jungle imagery.  The light changes, hidden images appear, the density of the foliage closes or opens and chaos reigns within the rule of nature. 

What_s New What_s New I Saw a Crow Orca Was I New etchings by Jules Buck Jones   

Saturn and His Children

Flatbed is pleased to announce the new publication "Saturn and His Children", a woodcut by Ricky Armendarez in an edition of ten. It's a stunning woodcut that measures 36" x 48" with out margin and printed in a dark blue-gray.

We first saw Armendarez's work at a PrintHouston exhibition a year ago. A woodcut by Armendariz had been chosen by Peter S. Briggs, the Helen DeVitt Jones Curator of Art at the Museum of Texas Tech University, for the PrintTX exhibit at the Museum of Printing History. I was bowled over by the direct cut of pattern and detail Armendarez uses. What I didn't know was that he had been cutting blocks like this for some time and primarily using them in his painting practice as well as printing blocks. When Armendarez approached us to print this block, we jumped at the chance to publish the print.

Saturn and His Children is now available at Flatbed. Price starts at $1700 and is subject to change according to availability.

What_s New What_s New  New Woodcut by Ricky Hernandez   


OCTOBER 2013 - MAY 1, 2014

Cauldron, 2014
Color etching
Edition of 20
Image: 9” x 16”

Comsummation, 2014
Color etching
Edition of 20
Image: 9” x 16”

Purgatory, 2014
Color etching
Edition of 20
Image: 9” x 16”

Pursuit, 2014
Chine collé etching
Edition of 20
Image: 9” x 16”

Union, 2014
Chine collé etching
Edition of 20
Image: 9” x 16”

Yearning, 2014
Chine collé etching
Edition of 20
Image: 9” x 16”

In October 2013, Sharon Kopriva came to Flatbed to make a print. We had been intrigued by Sharon's sculptures over the years and asked her to collaborate on an etching at Flatbed. If you are unfamiliar with her work, more can be seen on her website. She is a highly painterly sculptor and highly sculptural painter. Her work can be described as passionate and energetic.

The first etching we did immediately spawned ideas for two more color etchings that would constitute a suite of three. In addition, these three prints would each have a chine collé version which we would edition as well. The first image set the stage. Sharon used her three hairless Peruvian dogs as subject matter. They pursue each other in a cauldron of either water or fire. Glimpses of fish give a clue that this is a supernatural space. We remarked to Sharon that this seemed to be Dante's inferno. Sharon had recently visited Istanbul's ancient cisterns where you can explore walkways beneath the city surrounded by the vast waterworks which are eerily lit by red lights. Sharon titled the print Cauldron. The second etching carries the subjects into a state of longing and separation. Sharon titled it Purgatory. Following the progression, the third etching brings the subjects into a state of bliss and union and is titled Consummation. Sharon signed the editions on May 1 and they are now available at Flatbed Press.




OCTOBER 28, 2013 - MAY 24, 2014

La Ventana, 2013
Chine collé woodcut
Edition of 10
Image: 60” x 39” Paper: 63 1/2” x 41”
Paper; Rives BFK and Japan Kitikata

Price subject to change with availability

He looks up at us from a neo-natal position, coiled on a sagging wood floor. He is wary, almost cowering as he observes us staring back at him. Behind rises a chaotic landscape of architectural debris, a battered airplane, and industrial windows. They frame a basilica of wreckage, beyond only a distant building and a hint of undergrowth. A sparrow finds its way above the ruins. It is an alternate Lewis Carroll world: "We are all mad here," but it is another place and it is another man. Alice Leora Briggs notes that "All of my work is about Juárez." She fixes on her experiences and spends much time in northern Mexico, just across the bridge from El Paso. She travels as often as possible to an asylum built by a visionary and sited on the desert fringe of Juárez. She helps, she talks, she looks, she takes pictures, she brings tools and supplies, she works with the residents on art projects. They share meals together. She smells the place, touches the restraining bars, befriends the dogs, and listens. She is drawn to the people here and drifts to this place again and again. It resembles both heaven and hell.

This monumental woodcut print, La Ventana, is one of many images that Alice has conjured from the asylum in Juárez. Printed as an edition of ten, it is available at Flatbed Press and Gallery. Alice's large woodcut is the largest chine collé relief project (61 1/2 x 41 1/2 inches) created at Flatbed Press. Her carving of the wood panel at this scale yielded a richness of minute details articulated over the entire surface. The chine collé refers to the natural buff color in the print that was created with pieces of a Japan paper called Kitakata collaged onto the print while being printed.

La Ventana, translated from the Spanish as "the window", may be the closest some of us will get to this borderland. Just like the border between the U.S. and Mexico, we see through a glass lens and perceive a barrier. Maybe it is a mirror.


January 28 - May 21, 2013

Contenintal Divide, 2013
Chine collé etching
Edition of 10
Image: 4" x 40” Paper: 15" x 44”
Paper; Rives BFK and Thai chiri

Price subject to change with availability

When Jules Buck Jones visited Monte Verde, Costa Rica and The Isle of Ometeppe in Nicaragua earlier this year, he came back with his head full of images of dense overlapping foliage surrounding and engulfing his vision. At one point he stood at the continental divide which of runs through the Monteverde Cloud Forest and Santa Elena Cloud Forest Reserve of Costa Rica, one foot on the Pacific side and one on the Atlantic, surrounded by the dense cloud forest. Inspiration for the etcing "Continental Divide" was drawn from this time.

It was soon after he returned from South America that we invited him to come to Flatbed and collaborate with our master printers to create an etching. Jules is most well known for his large paintings and installations, which may be seen here, but he had never attempted a large scale etching. He lives and works in Austin and is instrumental in the MASS gallery and collective.

We decided together that a long thin format would be the best way for Jules to convey the surround of the rain forest. Two long narrow plates were prepared and Jules drew the intricate images on the plates for a deep etch. The two plates are designed to print as a diptych on one sheet of paper making the final image 40" x 4." He chose to print using a chine colléd Thai chiri paper and a cool black ink.

More information about this print may be found in the Flatbed Files.


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