Here is the third proof I pulled after completing my line etches in the acid bath on Tuesday. The first proof was a mess, on account of excess acid and water trapped beneath the contact paper that held the strips together throughout the etching process. I removed it, cleaned the plates, and re-joined them with fresh contact paper.
My second proof was over-wiped, and looked frail. Third time was the charm, and I’m really pleased with the result of this experiment so far. The spaces between the plates can be wiped to a degree that the interior edges of the plates leave fine lines rather than single heavy ones— that was an unexpected and delightful result!
Next phase will be to etch tonal shades using the aquatint method. I’ve already applied my rosin dust and melted it (with help!). Masking out the sky and two windows will be done before my next studio session.
Happy Leap Day! It seems fitting that our extra day comes on the weekend, else I’m sure it would be overlooked by many of us. It isn’t as if the world treats this day any differently.
I’ve been trying hard to not allow the relentless news of the world to overwhelm me. It can be difficult. One thing that invariably brings a sense of peace is time in the printmaking studio. It’s one of my favorite things these days.
This week I began work on a new piece. I’m hoping the row of brownstones in the drawing above will work well on some strips of scrap copper; that their vertical lines and those created by the joins of the metal strips will result in a rhythmic sensibility and a kind of visual logic.
This is purely an experiment. Five strips of copper, collected from the cast-offs bin near the metal-cutter, have been composited into a single ‘plate’ by aligning edges that fit nicely, and holding them in place with contact paper on the underside.
Continuing on last week’s theme— images from Savannah.
Here are two scans of a copper plate etching in progress. Above shows the first pull of phase two, after adding some tones with aquatint. This is a miniature print (3″x3″).
The next phase will involve some burnishing of the plate to create more variations in the tones. I want to brighten up some of those holes in the foliage to pop more, and modulate the darker greys of the spires.
Below is a scan of phase one, a simple line-etch with hard ground. It had three dips in the acid to achieve some subtle line-weight variations.
I had some trouble scribing elegant lines for the spires, because I applied too much hard ground to the plate. Lesson learned!
In mid January I took a trip to Valdosta, Georgia to visit Z. After a couple of days there, we drove to Savannah for a weekend. We stayed in a delightful tiny cottage not far from Forsyth Park, on a little street of other tiny cottages.
During our two days there we walked all over the town, from the river front to the Starland district, a sort of up-and-coming arts district south of Forsyth Park.
The contrasts between the grand Victorian blocks and the more modest little streets is striking. You can find yourself suddenly in an area that feels completely different in a matter of moments.
So, here are few of my photos from our wanderings. I have some color ones, too, which I’ll save for a separate post.
Above is one of the canvas tote bags I screen printed back in December. It’s a posed picture; clearly I had to print them upside-down to keep the handles out of the way. I just wanted to put it in the context of the studio where I printed them. They came out well, though! Only two had to be discarded (test prints, the ones I learned from).
I printed the red first, and registration / alignment of the black ink was fairly easy to achieve, mainly on account of how thick the lines of the image are. Once I’ve heat-set the ink, I’ll put some of these in my Etsy shop for sale.
And here are some small pencil case or cosmetics pouches that I used the same colors of inks on. I gave a few of these away as Christmas presents, but there may be a couple left that are decent enough to sell. I’ll post the link here when I’ve loaded up the shop.
Above is a finished print from the edition of Lisbon silkscreens I was working on when last I posted. It’s a three-color rendition of a pen-and-marker sketch I did sitting on the balcony of our little apartment there, perched above the harbor.
Below are two variations from several small editions of a cabin scene. This was inspired by a sort fo history / archiving project undertaken by a friend and I. We realized that our inclination to go cabin camping with friends in the off-seasons has been ongoing for about 15 years, and I wanted to commemorate it.
The top print is a five-color version of the planned six-color print. The leaves were left as negative space in the color separations to avoid overprinting the colors, and they had such a delicate look, I just had to allow some of the prints to retain that quiet, more wintry feeling.
There will be more printed items to share, and I’m going to try to return to a once-a-week posting habit here, even if they’re short.
2019 posed a number of challenges, and I wrote so very little all year. I find that writing is ever a bulwark against mental and emotional overwhelm, yet I forget to allow myself the time, or am too lazy to make the time— despite that it’s good for my well being, and so helpful in putting things into perspective.
This is my place to do that, and I must make it a priority once again.
Last night was the opening reception for the Mini Prints show at Manhattan Graphics Center, where I take printmaking classes. The place was packed to the gills, and I was pleased to see that my two prints had already been claimed by someone! (The red dots indicate the pieces are sold.)
This was the first time I’ve entered artwork into a juried show in years, and it was exciting to received the email that my pieces were accepted, so seeing those little red dots was the cherry on top.
As ever, I skip around from medium to medium, and this semester at the studio is no exception; I’ve been taking a screen printing class, I’ve not used this method since I was in school, so it’s been great getting back into it. I’m undecided yet whether I’ll return to etching or stick with this in the new year, but I have time.
Well I hadn’t planned on participating in Inktober this year, but then on the second, I decided I would after all, but with no pressure this year. No attempt at a narrative which I haven’t time to work out properly.
The pressure to craft un-flawed images is precisely what keeps me from drawing half the time, and also keeps me from experimentation and play, so I’m abolishing pressure! There’s plenty of that at work with deadlines as it is. Here are my first five drawings for this year.
I see from my last post that the entire month of September went by without a peep from me here on ol’ bloggy. That makes me sad, and I miss writing.
The only thing I miss, really, about being a sole proprietor is the bags of time I used to have. Time to allow things to percolate in my mind; to wander for hours in the late afternoon, on foot or on my bicycle. To put hours of time into this and other non-essential but satisfying pursuits, like my calendar projects.
There can be a paucity of time or energy (often both) that goes along with a full-time job into which one is invested and interested. Choosing how and where to spend those valued assets can be difficult.
I bought a new refillable brush pen last night; it takes cartridges of permanent ink like a fountain pen. I did this drawing to take it for a test drive, and I kinda love how it turned out, after some pushing and pulling.
I paired it with a white paint pen and a dash of red ball point, for drama. In the background I was catching up on some episodes of Pose, so fashion, attitude, gender fluidity were influencers— not to mention Madonna’s take on that buzzword a la mode.
I have some time to make more prints from my plates, and finesse them before choosing the best ones to send in for the exhibit.
Meanwhile, I’ve decided to mix things up a little, take a break from the copper plates, so next month I’ll delve into screen printing for the first time since I was in school. Time to work on concepts and sketches for that.