PressGhost Investor Guide: Art crowd sorcerer's guide to investing in a new school of printmaking

 
9781490950143: PressGhost Investor Guide: Art crowd sorcerer's guide to investing in a new school of printmaking
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Bill Ritchie, with 50 years' experience in fine art printmaking and teaching, wants to start a truly new school of printmaking in Seattle, Washington, which is new because it is a "factory school" or a teaching company. He calls it, Emeralda, and this book explains his unusual method for getting the money to do it. His secret weapon is a prize-winning design for a line of personal-sized etching presses. Not only are they small enough to fit on a desktop, they are beautiful to look at and these presses can print professional fine art prints as well as presses that are used in conventional schools and workshops. Bill is putting his life's work on the line. He has invented a preferred stock of his own, with the hundreds of artworks in his family collection as "certificates." The subscribers to his school idea have an array of options they can choose from, such as they can take the print or leave it in a study collection bank, or take it home, for example. There's much more to this idea than meets the eye, as Bill uses this book to go deep into his philosophy of teaching and why he thinks today's rage for gaming is directly attributable to the history of printmaking itself. His most radical idea - and the reason he left college teaching - is that printmaking is close to performing arts. The ideas Bill developed over his fifty-year career form the basis for his new school of printmaking. Funding for the school begins with the sale of preferred shares and sustains by the sale of etching presses, classes and services for people in the printmaking world. This book challenges most peoples' ideas about art schools and Emeralda will be a historic first in art education history.

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About the Author:

Bill Ritchie lives in Seattle with his wife, Lynda. Educated in state colleges in Washington State and California in the 1960s, he taught printmaking at the University of Washington from 1966 to 1985. A year after his last sabbatical Ritchie left the university inventing a new printmaking teaching method for blended distance learning. Using video and computers, he has strived to restore the unique, personal aspects of art professors’ offerings which he thought were being devalued and lost. His lifework became an “asset management and legacy transfer scheme,” a game-like practice that he code-named Emeralda: Games for the Gifts of Life. Ritchie teaches that printmaking is greater than the sum of handcraft and techniques or the manners of drawing and painting. His own printmaking has been a seamless blend of video, film, and computer graphics. “Everything in art is printmaking in one form or another,” he tells his students. “When I opened my eyes to art, I was looking at a print.” In 2004 Ritchie designed his first Halfwood Etching press with a 24-inch wide bed. A professional steel Wright, named Tom Kughler, produced a one-fourth scale model of it, and Ritchie named this one, “Mini Halfwood Press,” and later he designed the Printmaker Chest. Over a hundred people purchased the presses Bill and Tom made by hand, convincing to Bill that the worldwide market for personal sized etching presses justified embarking on a venture to start a factory for hand-crafted presses. Not only did he and his team prove the marketability of the press line, Bill also learned how to use the Internet for marketing. His early adoption of new technologies paved the way for him to amalgamate a holistic kind of printmaking education program for today’s hi-tech society. This book is the fifteenth in a series of self-published works Bill wrote and published, utilizing several of the new “book on demand” services emerging on the Web. His Website for the Halfwood Presses is www.printmakingworld.com and his personal, artist/teacher’s Website is www.ritchie-art.com

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