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 at Fullerton. During graduate studies, Steve was hired to produce limited edition etchings and serigraphs for an international art distribution company. Within six months, he had designed and set up their in-house printmaking studio. With the crème de la crème of resources and supplies at his disposal, Bloom produced editions that are collected all over the world.

"My early works are unrecognizable from today’s images because I would experiment with a different style and technique for every edition produced. The growth and experience was priceless." His most memorable moments were the direct consultations with renowned printmakers across the globe. "Speaking with Salvador Dali’s Atelier manager regarding embossing processes or discussing a ‘secret’ formula used by Picasso’s Atelier for copper plate 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 producing 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 chromist who understands color and its relationship to printing with the many different substrates available including the new inks for 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 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 magic brush and canvas. These are just new art materials. And while always wanting to visually produce a jazz improvisation, I finally found the palette, practice and tools to pull it off!"