What a wonderful and productive Dealers’ Meeting we had this past
weekend! Our guest speakers were Maureen O’Brien, author
of Get Your Big Girl Pants On and Sell Something—A Handbook
for Women (and Really Progressive Men) in Sales, and Michael Durney,
President of Interactive Marketing. Maureen, a mother of four
and a business owner, shared with us some of her real-life success story
of being a woman in a man’s world, and Michael told us about his
“Welcome Back Rewards” program.
Guest speaker Maureen O’Brien, left, and I outside the P.
Buckley Moss Museum in Waynesboro, Va.
Members of my authorized dealer family gathered at my Museum in
Waynesboro for The Moss Portfolio’s
summer Dealers’ Meeting.
We told the dealers about some exciting new ornaments
we have planned for release this fall, one of which will also be available
as a brooch/pendant, as well as a new pillow. I’ll be able
to show you pictures of those and tell you more about them in the near
future, so stay tuned!
I’m excited to be able to show you a picture of this ornament
now, which will also be available as a brooch/pendant. The Forever
an Angel ornament will retail at $45, and the brooch/pendant will
retail at $30. Both will be available this fall. A portion
of the proceeds from the sale of these products will go to the Virginia
General Federation of Women’s Clubs to help them raise funds for
a Traumahawk ambulance for the Virginia Tech Rescue Squad.
Several dealers asked me to describe in my newsletter
the various processes by which reproductions of my original art are
made. There are four kinds of prints: limited edition offsets,
etchings, silkscreens, and giclées. Each involves a very
different kind of process to achieve the end result.
Offset reproduction refers to a photomechanical process of reproducing
an original image by first “breaking down” or “separating”
an artist’s blend of colors into four basic colors and then recombining
them on a printing press to approximate the original work of art.
The printing company that produces my offsets does an excellent job,
and I’ve been working with them for years and years. The
offsets are a high quality, yet affordable, way to enjoy my art.
The Good Road—Blue Ridge Parkway 75th Anniversary is an example
of one of my newest offset reproductions. It will be released
during my show with The Framer’s Daughter in Galax, Va., September
11-12. For more information, please contact the gallery at 276-236-4920.
Etchings are truly a labor of love, and I am able to
produce only a small number of them. Where offsets are considered
reproductions because the image starts as a watercolor and is reproduced
in another form, etchings are original prints because they are pulled
directly from the plates on which an artist has created the original
images and come in no other form. Etchings are a complicated process,
but I will try to give you a simplified description. I start with
a metal plate, usually steel, on which I first apply what is called
a “ground.” I then use a fine-pointed steel needle
to draw the outline of my image onto the plate. The plate is then
immersed in a bath of acid which etches the lines into the metal.
Ink is applied to fill the lines, and the inked plate is then pressed
into the paper. For each etching print, the plate must be re-inked,
so no two etchings of the same image are exactly alike.
Ride Etching is an example of one of my most detailed etchings.
Silkscreens are another form of original print.
I use water-based, non-toxic inks and start by painting single-color
brush strokes onto a piece of mylar, which is then placed on a screen
that has been coated with a liquid emulsion. The emulsion is then
exposed to light, which causes it to harden except where my brush strokes
protect the screen from the effects of the light. When the mylar
is removed, the screen is washed. The areas of the hardened emulsion
remain intact; but, where the brush strokes were placed, the emulsion
dissolves, leaving open the mesh of the screen. The screen is
placed over the print paper, and the ink is forced through the open
mesh of the screen, creating the image of the brush strokes on the paper.
This process is repeated time and again for each of the areas of different
color I use in creating the image. Some of my silkscreens involve
over one hundred separate applications of color. When printing
an edition, each of the colors is applied to the whole edition in turn.
Sonata is an example of one of my smaller silkscreens.
Giclée is a French word meaning “to spray.”
This method of printing is a 20th Century digital process that I have
fallen in love with. No other reproduction process matches the
quality of a giclée, and the end result is reproductions that
bear the closest resemblance to the original work in not only color
but also texture. I am so thrilled to have my work printed in
such a beautiful way. Some of my giclées are printed on
paper and some on canvas.
Madre is one of my newest giclées on paper and perhaps
my most unique one, because the original image was painted on a fabric
These processes are described in much more detail on
my website at the following link: http://www.pbuckleymoss.com/articles.html#printing.
This week I’ll be setting sail with Quilt
Camp at Sea’s Cruise for the Cure as one of their guest speakers.
I’ll return just in time for a special signing of the Mathews
Market Days Poster at the Mathews (Virginia) Memorial Library on Sunday,
August 23, from 2:00 to 4:00 p.m.
I am most honored that the Mathews Market Days Committee asked me
to create the poster for the 35th Annual Mathews Market Days Festival.
The dates of this year’s event are September 11-12. Mathews,
Va., is home to some of the most sinful food and finest arts and crafts
I’ve ever seen, and I encourage you to come and check it out if
you’re in the area.
Tuesday I took my daughter Becky to Dulles Airport for
the return trip to her home in Italy. Becky was here for her class
reunion and a short visit, and I won’t see her again until I go
over to Italy next spring. Oh, how I love my family!