M. Zakariya's long awaited limited edition is underway. Many questioned if the traditional process of lithography could be used for calligraphy, however I was always optimistic that such a transition could be made. Considering the amazingly diverse effects that were achieved with the use of lithography in the Paris studios from 1890-1970, I had hoped that with the right Master Printer, the outcome would be spectacular. We found the right Master Printers in our own backyard. After much effort, searching throughout Europe and the Eastern United States, our former Gallery Director Michelle Huyn discovered Kala Art Institute in Berkeley, California. Kala Art Institute (KAI) is supported by The James Irvine Foundation. Since 1974 the "artists at Kala [have been] encouraged to produce innovative artwork of the highest quality, and are given total freedom to realize their artistic vision using media that span the Gutenberg press to digital eras." Since our premier visit to Kala during our interview process for this project, I was quiet impressed by their master printers vast knowledge of the lithographic process. The two Master Printers, Steven Wright and Sharon Heitzenroder bring a collective 25 years of experience to our project. Kala has one of the most extensive archive of Bavarian lithographic limestone slabs, brought from Europe in the 1960's, in the industry. I will update this journal with photographs and explanations of the process throughout, hoping to shed light on a complex chemical printing process.
