Understanding Rubyliths
Understanding Rubyliths
I know Jason did a technical thread a while back on rubytliths, but can someone explain their perspective on what makes these compelling? Maybe a recap of why these are cool? Not every Rubylith becomes a print (e.g. upcoming Public Enemy), does it?
JErikR
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Re: Understanding Rubyliths
JErikR wrote:I know Jason did a technical thread a while back on rubytliths, but can someone explain their perspective on what makes these compelling? Maybe a recap of why these are cool? Not every Rubylith becomes a print (e.g. upcoming Public Enemy), does it?
They're compelling to me because that's where Shepard's composition begins. He doesn't simply scan in an image or a photo and begin manipulating it digitally. Instead, he cuts various rubylith tracings, creates his composition through their combination into various forms (airplanes, buildings, bombs, Statue of Liberty, waves, etc., each added individually to create the overall composition) and then scans the final sum of the parts and cleans it up digitally. (The logotype and text is often added later digitally, though Jason's mentioned that they're sometimes cut from rubylith as well.)
Re: Understanding Rubyliths
JErikR wrote:I know Jason did a technical thread a while back on rubytliths, but can someone explain their perspective on what makes these compelling? Maybe a recap of why these are cool? Not every Rubylith becomes a print (e.g. upcoming Public Enemy), does it?
Yeah, what APM said. In short, because they look cool as hell on top of Shepard's custom wallpaper.
Re: Understanding Rubyliths
At the Levine show, I honestly found the rubyliths to be the most disappointing. I did not think they looked good, especially with what looked like bubbles between layers.
And I really wanted them to look as cool as they did in the jpegs I had seen....
And I really wanted them to look as cool as they did in the jpegs I had seen....
good stuff here. i had no idea that shep cut the rubyliths then scanned/manipulated them
also with the bubbling...i am assuming that the ruby has an adhesive back? i work with vinyl all time and it is near impossible to lay it down on a flat substrate without leaving bubbles, even when using a spray application solution
also with the bubbling...i am assuming that the ruby has an adhesive back? i work with vinyl all time and it is near impossible to lay it down on a flat substrate without leaving bubbles, even when using a spray application solution
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skoola wrote:good stuff here. i had no idea that shep cut the rubyliths then scanned/manipulated them
also with the bubbling...i am assuming that the ruby has an adhesive back? i work with vinyl all time and it is near impossible to lay it down on a flat substrate without leaving bubbles, even when using a spray application solution
The pieces-parts of the rubylith are mounted together on to clear acetate, but I'll let Jason answer this one in detail.
Jason Filipow wrote:Rubyliths are traditionally tinted gelatin (red/amber) on a clear acetate backing...the exhibited Rubyliths are mounted with clear photocorners on top of elaborate collaged/patterned HPM style paper, which is signed. And the whole thing is sandwich in a custom cut (by yours truly, heheh) window mat. The Rubylith is not 'glued' or permanently mounted to the paper in anyway.
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toyroom wrote:Anyone know what the longevity of these rubyliths are???
Obviously it's light safe, but it's also an emulsion (so it's not exactly stable). I've worked in darkrooms that used rubylith as light covers (over windows, etc.) and it definitely would fade over time, presumably from exposure to radiant heat or from some slow chemically reactive process.
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JErikR wrote:Okay, so since Shep created the Germs rubylith first, that makes your Ruby the original to the print, no? Or is it not correct to think of the Rubys that influenced prints this way?
I don't think of the rubyliths in that way as they bear resemblance to the final pieces only in outline form. Instead, I view rubyliths the same way I view retired stencils: as collectible ephemera that was used to create Shepard's "final" art. Sure the stencils (now retired) technically came "first," but they don't necessarily resemble the final pieces in any other way than in general outline (though in negative form vs. a rubylith's positive). Both have artistic merit themselves out of necessity to their roles in the technical process of creating his final pieces.
But that's left brain analysis. In the end, both rubyliths and retired stencils are bought for right brain reasons: they look cool. And that's art.
Re: Understanding Rubyliths
• Rubylith – The original concept or “drawing” used as a starting point for all prints to come
Rubylith sheeting is tinted red sheeting on clear acrylic that can be peeled off. Shepard carves away the red creating a design which will be used for making prints. Anything left red will be color. Prints required multiple colors will have multiple layers of Rubyliths. These sheets are scanned in and enlarged to create screens and stencils.
http://www.youtube.com/watch?v=lzm5NUg- ... re=related
Rubylith sheeting is tinted red sheeting on clear acrylic that can be peeled off. Shepard carves away the red creating a design which will be used for making prints. Anything left red will be color. Prints required multiple colors will have multiple layers of Rubyliths. These sheets are scanned in and enlarged to create screens and stencils.
http://www.youtube.com/watch?v=lzm5NUg- ... re=related
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Re: Understanding Rubyliths
mose wrote:At the Levine show, I honestly found the rubyliths to be the most disappointing. I did not think they looked good, especially with what looked like bubbles between layers.
And I really wanted them to look as cool as they did in the jpegs I had seen....
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Re: Understanding Rubyliths
robotoil wrote:
your lucky to have this...
"Actually, it only takes one drink to get me loaded.
Trouble is, I can't remember if it's the thirteenth
or fourteenth."
Trouble is, I can't remember if it's the thirteenth
or fourteenth."
Re: Understanding Rubyliths
extremeimages77 wrote:your lucky to have this...
Thanks.
Rubys are hit or miss, just like the prints. To the extent that Mose was disappointed at the Levine show, there were 2 that stood out. Toxicity Inspector, Statue of Liberty/Smashing Pumpkins and Sunsets.
Last edited by robotoil on Tue Jul 29, 2008 7:27 pm, edited 1 time in total.
Re: Understanding Rubyliths
- I regret not buying the Peace Mujer Rubylith, - really wish I had picked that one up now! I bought the Lou Reed to save $500-$700 (can't remember for sure).
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Re: Understanding Rubyliths
Shepard Fairey is considered a rubylith master. That's what he excelled at when he was at RISD. All of the early work had very little if any computer programs involved at all. He told me the Tank print was something around 200 cuts. Well over a 100.
Thanks, JG.
Thanks, JG.
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Re: Understanding Rubyliths
johngoff101 wrote:Shepard Fairey is considered a rubylith master. That's what he excelled at when he was at RISD. All of the early work had very little if any computer programs involved at all. He told me the Tank print was something around 200 cuts. Well over a 100.
Thanks, JG.
Back when the rubyliths were full size. No computer to scan/size it.
Re: Understanding Rubyliths
johngoff101 wrote:Shepard Fairey is considered a rubylith master. That's what he excelled at when he was at RISD. All of the early work had very little if any computer programs involved at all. He told me the Tank print was something around 200 cuts. Well over a 100.
Thanks, JG.
Back when the rubyliths were full size. No computer to scan/size it. Raw sharp cuts with human mistakes.
Click on the picture to enlarge it to it's full size. How many cuts alone are in that face? I think I see Italy in there.
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Re: Understanding Rubyliths
In order to burn the screens the rubyliths have to be full sized still. The rubylith is layed over the screen and than burned it so you couldn't do it any other way than a 1 to 1 ratio.
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Re: Understanding Rubyliths
johngoff101 wrote:In order to burn the screens the rubyliths have to be full sized still. The rubylith is layed over the screen and than burned it so you couldn't do it any other way than a 1 to 1 ratio.
I thought that, today, the ruby is just a starting point for Shepard and that the computer can resize the image to send the file to the printer. I don't believe my Toxicity Inspector ruby is the size of the edition print. I don't believe Shepard cuts more then 1 of any image. ?