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I am an artist-printmaker and have printed my own and other artists’ work for more than 3 decades. I started printing for other artists in 1976, when I and fellow graduate Deborah Walker purchased an Enjay RP32 etching press. We began printing for Louis Kahan and Geoff la Gerche.
Providing a custom printing service for 28 years has led to major collaborations with other artists. My involvement in the creative process ranges from minimal to intensive, not in the actual mark making but in choosing mediums to suit styles, applying aquatints, judging etches to give required tonal ranges, biting line work to maximise its character, all things discussed with the artist that give the finished work its feel, things that are revealed (often mysteriously) on pulling the first proof.
To be included in the creative decision making process is a privileged position. The collaboration develops as a feeling of trust is established, when the artist is comfortable with the working environment, with the working relationship developing over time.
I have been constantly absorbed with the set-up and maintenance of printmaking studios. This fascination is still driving me over 30 years later. Investigating methods of production, techniques, plates, acids, tools, grounds, presses, papers, felts, inks, modifiers, display, lighting, heating, ventilation, storage, music, drinks etc.
I have established studio facilities at 6 different locations in Melbourne. Now I am in King Valley NE Victoria and continue to develop my main editioning studio around several Enjay presses including a very large press used initially for the work of Geoff Ricardo.
My own creative work happens rarely and it is often a cathartic experience, a release from the pressure of maintaining edition print integrity, or the responsibility of etching plates that artists have spent months working on.
Neil Jeffery and I first met when I was the printmaking technician at Caulfield Tech. and our paths crossed occasionally for nearly 20 years. In 1993 Neil commenced design of a new range of modern etching presses and I agreed to lend my printmaking experience to making them as user-friendly, safe and high performing as possible. The result of our collaboration is seen in the current model E26/660 and E34/865 etching presses.
I have been the contact person for sales since 1993 and Enjay etching presses have again been supplied to art schools, print workshops and privately to some of the country’s leading practitioners.
Bill Young
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