Artist Steve Bloom has the unique ability to combine his mastery of the most ancient of printmaking techniques with the most contemporary digital processes to create
his internationally renowned imagery.

Bloom received his B.A. in art with an emphasis in illustration from California State University at Fullerton. During graduate studies, Steve was hired to produce limited edition etchings and serigraphs from an international art distribution company. Within six months, he had designed and set up an in-house print making studio. With the cr�me de la cr�me of resources and supplies at his disposal, Bloom produced additions that are collected all over the world.

"My early works are unrecognizable from today's images because I would experiment with different styles and techniques from every edition produced. The growth and experience was priceless." His most memorable moment was the direct consultations with renowned printmakers across the globe. "Speaking with Salvador Dali's Atelier manager regarding embossing processes or discussing a  secret' formula, using my Picasso's Atelier for copper place etching, were very exciting moments for me."

In 1985, Bloom met another artist/marketing advisor, Joyce Kasprzyk, who shared the same vision, to create a premier printmaking studio, to continue to produce both their own work as well as custom printmaking for other artists. Talon Graphics, Inc. was formed. Work during this period, "The Serigraph Era," was strictly printmaking using the serigraph process. "Seri" meaning stencil, "graph" meaning paper. Warhol had helped to lend major credibility to the serigraph process and Bloom enjoyed success as both artist and master printmaker at this time.

Years of professional experience has truly made Bloom a master who understands color and its relationship to printing with many different substrates available including the new inks in digital printing. Making traditional prints for over 20 years, Bloom has found an exciting new medium drawing digitally, and printing the image as an original print rather than a reproduction of an existing painting.

"How often in a lifetime is an artist given the opportunity to be at the forefront of a new art movement. One that will be so important that the art, as we know it from this point on, will be forever influenced. Since DaVinci first began the use of his Camera Obscura, technology has slowly crept into art and the making of art. Now these creative and artistic technologies have become advanced enough that new artistic boundaries are broken through so regularly that the imagination is finally coming very close to being the only hurdle left to expression."

"I call some of what I do  sculpting with light' and other times I am merely drawing and painting with pixels instead of ink, graphite or paint. I rarely ask a computer to create something for me. It's much too much fun to use it literally as a magic brush and canvas. These are the just new art materials. And while always wanting to visually produce a jazz improvisation, I finally found a palette, practice and tools to pull it off!"