Saturday, July 5, 2014

American Insects finished



Here is the finished etching, with aquatint, of the "potatoes were the waiters" page, with digital text added. Classmate Laurie Hunt suggested the fade-out of repetitive lines. The possibility of hand-coloring the etchings was also suggested. I finished all three books: The Fly, The Potatoes' Dance, and Depressed by a Book of Bad Poetry, I Walk Toward an Unused Pasture and Invite the Insects To Join Me. The last page of the latter is shown below:













 
It's a lot of scanning to add all the pages of each book but I'd like to make Picasa albums of them in the future. I made slipcases for each set of books, (edition of three) the spine label for the slipcase looks like this:

The three small etchings on the label are repeated on the title page of each book.

Monday, March 10, 2014

Progress on "The Potatoes' Dance"



These are proof etchings for the book The Potatoes' Dance, illustrating the poem by Vachel Lindsay. Aquatint and etched lettering will be added; the lettering here is just written on with pencil. It will be series of ten etchings, bound in a long strip, accordian-style.

I received a very kind letter from Nicholas Lindsay, giving me permission to use his father's poem.

Friday, January 3, 2014

Bridges of Plainwell in Color Etchings



This is my second attempt at a four-color etching; CMYK aquatints and some line work, mostly in black. It's the  M-89 bridge over the millrace, east side of town, with the old paper factory in the background. This is a scan, it's a little fuzzy. My plan is to do all seven bridges of Plainwell in color etchings, and bind them together. I'll be working on these through next semester, along with my "American Insects" series.

Thursday, December 5, 2013

Influence

 A book of color viscosity prints from my fall semester of grad school.

Monday, August 5, 2013

Late summer

This is my inventory of copper plates--mostly scrap-- but I laid them all out for inspiration, and mostly, to see if I had any sets of identical sizes to use for color prints. My big "take-away" from the one summer session of grad school I was able to take this summer (Session 2 was canceled) was a new comfort level with color printing and CMYK methods. My new cans of Graphic Chemical Perfection Palette CMYK inks are lined up here, too. When classes start again at the end of the month I'll have access to a metal shear and can trim some of these plates if necessary. I have so many ideas for projects and print series running around in my head right now I don't know where to start, but I'll figure it out, one print at a time.

Wednesday, April 24, 2013

More thoughts..

     It is probably a mistake to print the woodblock with oil ink plus a modifier; after doing some reading I will use waterbased pigment instead. I read a book on Japanese woodblock printing this month that said even diluted acrylics will work. This is using the Japanese brush-on technique I learned from Mary Brodbeck. Also my paper was all wrong so I found some kozo I use for bookcloth and tore up some sheets to use for experimentation. I had a lot of trouble with chipping and tear-out with this plywood but the same book mentioned above said to coat the surface of the block with slightly-thinned white glue to prevent this problem. I have so much of this wood, I'd really like to find a way to use it effectively.
     At the Kalamazoo Public Library Friends bookstore I found this amazing book of Jacques Callot etchings, for only $3.50. Very inspirational, as well as a reminder that no piece of copper is ever too small to use.
     In anticipation of starting grad school classes (!!!) I am trying to do an inventory of all my paper, prints, supplies, etc. I have some pretty valuable paper stockpiled that I expect to be using up now, plus I want to turn over a new leaf regarding organization.

Thursday, March 21, 2013

More woodcut thoughts

I cut an experimental woodblock, just a scene outside my dining room window. I tried printing it with a baren, and the ink was actually my friend GC Bone Black with some old Daniel Smith relief modifier added. This was a bust; the prints look bad. Maybe the modifier is too old, it is sticky like glue. I'm going to try again with DS Graphite and DS Sepia. I want to do a two-color reduction. If this doesn't work I will scrap the block and try a new method with different inks, perhaps the Japanese method I learned in Mary Brodbeck's class.
I found out last week I am accepted into the MFA-Printmaking program at Kendall College of Art Design, and I'm very excited about that. I'll be starting with a class this summer.