Along A Path, 2011 (intaglio and aquatint)
I’ve just signed up —at long last— for another printmaking class! Difficult to believe it’s been seven years since my scholarship to learn copperplate etching (intaglio) at Manhattan Graphics Center, which was my first and only foray into this fantastic ancient method of picture-making.
The class begins in November, with my same instructor as last time. I’ve still got a huge slab of copper which I didn’t get to last time, and I hope it’s still in good nick. Gotta check out my supplies to see what else I’ll need to resume the practice.
This time, I’m keen to get more exploratory in my work. In 2011 I focused on pieces that were intricately detailed and traditional (as you can see from these two prints). My approach involved a lot of hand work, using a magnifying glass to see as I worked. It was incredibly time-consuming, even before the acid-etching stage— which is where a lot of magic can happen, much like going into the darkroom with one’s negatives.
Continue reading “A long overdue revisitation”
This image, a detail of one of my assemblages involving old porcelain dolls. Their halos are of sterling wire.
Beyond the Red Oak v6 from Elizabeth Daggar on Vimeo.
I haven’t had time the past two weeks to get much farther with this, but I’m hoping to get back to it on the weekend. Here’s where I left off in my motion tests and atmospheric meanderings.
Here are a couple stills from a scene into which I’m working that oak tree drawing and the landscape I’ve been working on. I’m still getting the hang of working with cameras, and messing about with focal lengths and such, to get the depth of field. It’s slow going, but enjoyable.
Another drawing in service to the animated short I’m working on. This is one I did last weekend, and I’m hoping to get the barn and silo illustrated from at least one point of view this weekend. Also: fences.
I’m looking into learning more about the puppet tool in After Effects, too, so that I’ll be able to get a wider range of motion out of the creatures I’ve yet to flesh out.
In the meantime, I also have several illustrations to do for the documentary side project I’m working on. So much to do, and weekends go by awfully fast.
I stayed home last night; missed several parties, missed toasting with friends who I’ve not seen enough of. A head cold has been slinking ‘round the door for a few days (probably a few weeks), and by Midnight it’d overtaken me. I didn’t have any the past two winters, but I’ve been burning candles at both ends lately, so I can’t be too surprised or upset.
Despite feeling poorly, it’s not a bad thing to cross the threshold of a new year quietly and in solitude. I did this little drawing to mark the changing of the guard. (I added the snow on a whim, though clearly those aren’t winter trees, all clad in leaves.)
I’d hoped for a cold-bright wander on New Year’s Day, but that’ll have to wait for better health. Glad tidings, with a few sniffles! I’ll see what I can make of it. More drawing, whether for me or my freelance project, will make a fine start of things for 2018.
I must quiet my mind.
Sometimes it can be done with reading on the train. And sometimes it needs to be done by formulating, or finding, some clear thing out of the jumble of tangled strings and wires— the ones that formed knots in one’s head during the tumult of the day.
Continue reading “After a day where a sudden drop in tempurature causes green leaves to fall like the piano needles from Charlie Brown’s xmas tree”
Days twenty-seven and twenty-eight, a diptych:
She had a Victorian sensibility and liked to collect little things she found on her walks.
Days twenty-four through twenty-six! An array of ornate forks that’d belonged to his grandparents were among the day to day utensils she ate with.
. . .
(These count as three drawings, for days Oct 24th – 26th. If you’ve a problem with that, I can’t care.)