Studio produces traditional work

On a Friday afternoon in January, lithographers at S2 Editions received confirmation that a piece titled "The End," depicting Charlie Chaplain swaggering off into the sunset, had arrived at artist Al Hirschfeld's home for signing. The 99-year-old illustrator signed his pieces Saturday night and died on Sunday, Jan. 20.

It was the largest, and last piece he ever did.

Re-creating work and being a part of the process is what drives lithographers at S2 Editions, nestled in the heart of the Arts District at 1 E. Charleston Blvd. The studio is also in charge of reproducing the work of Tom Everhart, Robert McGinnis and the American Film Institute's top 100 movie posters of all time.

At 10,000 square feet, S2 Editions is the largest lithography studio in the world, said Jennifer Ryan, shop manager. It's been at its Arts District location for two years and is owned by Jack and Carolyn Solomon, former owners of Circle Galleries. There are three presses used in Las Vegas and one in Los Angeles. Those in town range from 40 to 130 years old, and the cast iron presses weigh between 13 and 18 tons.

Approximately 50 years ago, a motor was added to replace the steam engine used to operate the 130-year-old Marinoni press. It was the only modification to the process.

"It's absolutely traditional. Everything is hands-on," Ryan said. "We take good care of them, and they'll run forever and ever."

To start, a chromist, or the artist, draws the color separations, marking each color in the original artwork. One plate is used per color, and once the set is complete and meets artist specifications, the plates are destroyed.

For the American Film Institute's reproduction of the movie poster for "The Day the Earth Stood Still," all 20 colors were mapped for printing, including minuscule pieces of red. The markings are then burned onto a photo-sensitive emulsion and developed, like film, in large, custom-built sinks. Each color requires a one-day dry time after printing. The finished edition is allowed to dry for one week.

"If it's two colors, we can do it in two days. The one we're working on now has 22 colors. It'll take months," Ryan said. "It's extremely detailed. We shoot for 99 percent accuracy. We're looking at every draw, every spec. It all has to be intentional. Every print has to turn out exactly the same."

Like a train, each press has a conductor who oversees the entire process. Conductor Samantha Brunner, a graduate student at the University of Nevada, Las Vegas, pulled out a wrench to tighten the brakes on the press while Bowen Jervis kept working. Depending on the press, there also will be two to three other people pulling handmade paper out of and putting paper into the press.

"Even when you take a class, it's not a book class. It's hands on," Ryan said. "Each press has its own personality, so when you move from press to press, it's a different experience."

Walter Mosca, a native of Peru, worked in the shipping and display departments where he helped hang the artwork and make sure it arrived at its new home. A few months ago, he decided to learn how the pieces begin.

"It's a lot of pressure, but it's fun. I like it," Mosca said. "Here you're focused on the print, the art, the image."

When finished, the lithographs will sell for hundreds and, many times, thousands of dollars. One bend, and that piece is ruined, even if it's on its last color.

"It's like you're handling $1,000 bills," joked Eleanor Brennan, whose job interview six months ago consisted of working on the press. "One wrong tear and it's garbage. I was terrified. You get the hang of it, and it's not scary anymore."

"Any of us could go into commercial printing. We could print newspapers or lottery tickets," Ryan said. "But we're lucky to be fine art printers. The quality has to be a lot higher."

There's never been any accidents, even though there are heavy parts and limbs working closely together. This comes from knowing your job and the machine it takes to do it, Ryan said.

"You're climbing all over this press every day. You know every part," Ryan added. "You can close your eyes and hear how this press works."

Ray Mazza, vice president and a master printer, traveled for the last two years between New York City, where the studio was originally based, and Las Vegas. He helped to set up shop and recently moved to the Las Vegas Valley permanently. These days, he oversees the process instead of being involved in it.

"There's a daily gratification with printing. At the end of the day you know where you stand," Mazza said.

Many of the lithographers at S2 Editions are artists or art aficionados. Appreciation helps the understanding process.

"You tend to be a psychologist a lot of times with an artist," Mazza said. "They're coming to you with their livelihood, their life's work. ... In order to be a good printer you must adjust to that artist."

A part of the final edition includes printer's proofs the artist has made in gratitude to the printer. Over the last 25 years Mazza has been in the business, he has assembled an eclectic collection. Each piece represents the ebb and flow of being a lithographer. There's a seal next to the artist's signature for a reason -- finishing an edition is a team effort.

"This art is a living process," Mazza said.


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